630/12

Original:
1998

FOUNDATION DRAWING
(Year 11 and Year 12 Art and Art & Design)

Art Studio Support Document

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Foundation Drawing

This document is part of a series of documents developed to assist teachers with the delivery of a range of
studio areas.
Some of the materials presented are adapted for use in Art and Art & Design from documents developed
by the Education Department for Unit Curriculum.
The Curriculum Council would like to acknowledge the following:
Writer:
Celeste Rossi
Art Work:
Celeste Rossi
Students from Kalamunda SHS
for their input in developing this document for use in the postcompulsory Art and Art & Design subjects.
Special thanks to Robin Pascoe, Senior Curriculum Officer at the Education Department for facilitating
use of the materials and members of the Art syllabus committee for assistance in developing the
documents.
It is hoped that teachers will find the information on the particular studio area and associated briefs of use
in the delivery of both Art and Art & Design.

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WHAT IS FOUNDATION DRAWING?

Foundation Drawing is a compulsory component of the Year 11 TEE Art course and it endeavours to
enhance the student's understanding of the drawing process as well as their sensitivity in the use of a
variety of drawing mediums. Visual language skills are developed in students through experiences in
drawing. Experiences that expose the students to a wider range of media, a variety of interesting drawing
activities and a greater understanding of the elements and principles of design, generally lead to far more
sophisticated studio works.
Drawing can be interpreted in vastly different ways. If we consider drawing to be the act of markmaking, then many mediums may be taken into account. The contemporary concept of drawing has
definitely broken the once-rigid notion of drawing as purely pen and ink, pencil, charcoal or crayon. To
actually define drawing is virtually impossible and it continues to be a highly debatable topic, one that
each art educator needs to define for oneself.
The value of observational (and therefore representational) drawing from life and actual objects can not
be underestimated in its capacity to develop skills. The creative process of interpreting or abstracting
drawings is a valid extension of representational drawings. The role of the art educator is to set students
challenging experiences whilst guiding them through the implementation of new drawing skills,
techniques and processes which allow them to express their own visual communication.
To best illustrate the wide variety of approaches to drawing a teacher could show examples of markmaking which are evident throughout history. Exemplars may include the bison depicted deep within the
Lauscaux caves, the drawings of the renowned Renaissance masters and the contemporary works of Brett
Whiteley. There are many visually stimulating resources to aid teachers in their approach to drawing, not
necessarily lavish or extravagant, but everyday objects or themes that can be transformed into stimulating
drawing experiences for students.

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DRAWING
Drawing is an integral part of the process
of developing Ideas. A drawing may be
used to develop an understanding of THE
ELEMENTS AND PRINCIPLES OF
DESIGN

SOME AREAS TO EXPLORE

ARE...
(a)

Direct observation and visual

exploration
Drawing directly from objects,
people or events in the
environment can inspire many
students and is a fundamental
requirement of this studio area.

(b)

The Outdoor and indoor environment

(c)

Human Relationships
Relationships may involve conflicts, misunderstandings, frustrations and friendships that can be
exploited to form the basis for a studio piece.

(d)

The Environment and the Local Community

Observations made in the local community environment and the student's own home may provide
ideas for drawing.
The potential for ideas from visual exploration of the students own environment are limitless.
Personal objects from their room, objects collected on the way to school or objects collected at a
junk shop may all provide ideas for a personal still-life.

(e)

Props and Models

Objects set up and displayed around the art room may help students to get ideas by triggering off
associations between the unrelated objects. Drawing from props and models in the art room, may
also help heighten students perception of their environment.

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(f)

Changing the Point of View

Students preconceived ideas about their environment and the

people and events which may occur in it, often hinder their
ability look at things in a new and interesting way. Some of the
following viewpoints may form the basis of ideas for a drawing.

Look at things;
from above - like a bird
from underneath - like an insect
at close range - through a magnifying glass
at a distance - through a telescope

Consider using a:
low horizon
high horizon
detailed foreground

Select a view and concentrate on foreground elements.

View things in the middle of the subject.

Place things:
in an unfamiliar situation
a familiar situation.

Suspend things, dismantle things, view things from upside

down.

Look at one object from all angles.

Change the lighting.

Observe reflections on surfaces.

Select from the whole:

one part or section
a detail
the inside
one corner.
Students not only need to consider changing their point of view
concerning objects around them but can also change their values
and feelings by taking an alternative view.
Imagine:
toys with evil intent;
the view of an animal in a cage;
the view of a bush scene from the eyes of a lost child;
the view of a new arrival to the class or the country.

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THEMATIC APPROACH TO DRAWING

A thematic approach can provide a common link or thread to a series of drawings. While working on the
one theme, many of the other suggestions for getting new ideas may also be used, particularly that of
changing the student's viewpoint. Themes may also be combined to great effect, for example 'Figures in
the Landscape' allows for a wide range of ideas to be explored. Some examples follow:
a) Figure studies and portraits


Students with the people and events that surround them.


Events, solitary or with others.


A favourite haunt or meeting place,


The objects and things that may represent the students personality or character.


Favourite activities - food, books, sport, people.


Details of self or others.
b) Narrative, Pictorial or Genre
Narrative works come spontaneously to younger students but is sometimes forgotten at higher levels. It
should be encouraged because it can produce some exciting and creative results. The drawings can be
based on:

Legends, heroes, mysteries, where the central figure is larger than life.
Fantasy and science fiction-, outer space.
Dreams - mixture of fact and fantasy.
Animals, bird, creatures (real or imaginary).
Occasions, rituals, games or dramas etc.
The majority of drawings must be drawings from life or real objects, integrate this requirement in
all your drawing projects.

c)
d)

Still-life
Interiors and Exteriors

e)
Landscape
Exploration of natural and urban environments. An urban landscape, for example, can be approached
from many possible directions.
Students could consider the city streets
i.e. shop windows and signs, reflections, intersections, traffic lights, noise, pollution dwellings, shops,
construction sites with all the accompanying machinery and equipment, deterioration of buildings etc.

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USING ART CONCEPTS

Concepts are ideas, many of which are centred around the elements and principles of art - colour, tone,
texture, form, space and line
Many activities on art concepts can be grouped around these elements of art.

COLOUR
a)

Advancing and Receding Colour

Use collage techniques with paper of various colours to create an illusion of depth
Use a dominant warm colour amid cooler ones.

b)

Texture and Material affect Colour

Paint a blue chair against a red wall on an orange floor in the following ways:
The chair is made of lead.
The chair is made of fur.
The chair is made of glass.

(c)

Colour Affects Form

Take an ordinary object and 'lose it' in its environment by destroying its visual presence with
colour.

d)

Colour as Area
Use small areas or dots of colour to create the overall field.

e)

Colour in Art
Referring to works by artists like Van Gogh, Matisse, Cezanne, Bacon and Bonnard create a
set of colours typical of their work indicating juxtaposition of colour as well as proportion
and balance of colour.

f)

Colour in the Environment

Use the colours, shades and tones found in the art room or your bedroom as a colour range in
a drawing
Collect examples of colour camouflage.
Mix a set of colours for summer/winter clothes.
Compare sets of colours used in national costumes or ethnic art.
Find examples of colour used for decoration in natural and manufactured objects.

g)

Colour Impact
Use colours together which have a violent impact on the viewer.
Use colours which are a calming effect on the viewer.

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h)

Colour with a Meaning

Invent colour to suit the intention of the drawing mood, emotion, message etc.
Mix colours that sing, shout, clash, are happy, sad, exciting or dull.
Select groups of colours to match a piece of music.
Collect examples of the symbolic use of colour.

i)

Colour as Light
Light can alter and affect the whole feeling of a painting by changing colour. Paint an
object, event or room with the colour changes of the day or seasons i.e. Monet, Bonnard.

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TEXTURE
a)

Use texture as an 'expressive' element

DRAW
something pleasant to touch
something irregular and prickly
something cool, hard and polished
the reflections of something.

b)

Use texture created by lines and patterns

DRAW
light falling through venetian blinds onto a surface
shadows created by palm fronds and ferns
a detail of a person's or animal's hair.

c)

Place different textures next to each other

A crumpled paper bag or a newspaper
A glass bottle on a rocky surface
Paint a row of different fences found in your street.

d)

Texture and Pattern created by Groups of Objects

DRAW
A fruit and vegetable stand in the supermarket;
An arrangement of glass jars and bottle;
A pile of shoes or old clothes;
Looking down on a group of children building a sandcastle.

SPACE AND FORM

a)

Negative Space
DRAW
Only the negative spaces seen in a still-life.
Using an artist's painting for reference, re-draw and concentrate on the negative shapes.

e)

Empty Space
Do a drawing which makes use of empty space to create mood.

f)

Creative Space
take an unusual view point to create the feeling of space i.e. through curtains, a hole in a fence,
down a well.
Look at cluttered space i.e. the inner workings of a clock, cables and pipes etc.
Use size relationships between objects to create space.

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d)

Space Created by Perspective

DRAW
the school corridors.
DRAW
the corner of a room showing some of the floor and the ceiling.

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MOVEMENT
a)

Create illusions of movement in a drawing using some of the following:

Action stopped by photography.
Momentary gestures.
The quality and application of the paint itself.
Lines and shapes.

b)

Movement in Everyday Life

DRAW
flags or gusting material
a running race
a stationary bus with cars moving passed
agitated birds or animals
a merry-go-round
a dog chasing its tail.

c)

Unexpected Movement
DRAW
a gust of wind;
a sudden turn of head;
a dropped glass of milk.

BALANCE
a)
b)

(c)

Bilateral symmetry - the painting is balanced symmetrically.

Radial symmetry - elements radiate front or converge on an actual or implied central point.
DRAW
the inside of an umbrella;
the aerial view of a road intersection;
maps.
Asymmetrical balance in a drawing can be created by:
decentralising the main object in the composition altering the format or boundaries of the drawing to place
the subject off-centre.

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SCALE
a)

Scale can affect the treatment of subject matter or content and create some interesting
illusions.
DRAW
the same object smaller/larger than normal;
use the same theme to do drawing on a small and large scale.

b)

Relate Objects of Different Scale

DRAW
something small next to something tall
something deflated next to something inflated
a chair on a stage
something at close range and at a distance.

a flower pot on a
window sill;

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FURNITURE
Is structurally challenging to draw and easy to obtain like chairs, tables, bookshelves and books, baskets,
Indoor Plants, electrical goods and products, office furniture, corners of rooms, a loaded kiln, an open
supply cupboard, urns and staff rooms, telephones, fax machines, computers and other furnishings within
the school.

THE SCHOOL ENVIRONMENT

There are many areas to explore like the car park and bike racks which are filled with a variety of cars
and bicycles. The architecture of the school may also provide staircases, benches, seats, bins, verandahs,
lockers, gardens, trees and flowers, fencing, sporting fields, sheds, canteens and vending machines.
Various building materials like brick, tin, tiling, paving, plaster, glass and wood can be used to explore
surface textures.

PERSONAL BELONGINGS
Inside a student's school bag, wallet / handbag, or pocket is a multitude of tiny personal belongings. Try
drawing these without removing them from the bag or pocket, encouraging students to draw using the
sense of touch and then later with careful visual exploration.

PEOPLE
Draw them crouching, lying down, sitting on an interesting object, standing, walking or moving to show
movement, sleeping, sewing, eating, cooking, typing, reading, laughing, writing.

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THE HOME
The home environment is a comfortable environment for a student to draw because of its familiarity.
Students can draw the family pet, their bedroom, furniture, the outdoor area, kitchens, bathrooms, attics,
sheds or other items and structures.

A STILL LIFE
In the classroom is a popular way to ensure a variety of objects are portrayed. Try to incorporate and
encompass an assortment of textural surfaces by juxtaposing objects to create variety and interest
allowing the student to be individual in the compositional choices that they make. View finders are
simple framing devices that are most useful, just cut two L shapes from card to create this simple device.

THE LOCAL ENVIRONMENT

The school's neighbourhood may be very interesting and easy to access. You could seek out local
infrastructure like freeways, parks and gardens, electrical towers, industrial pockets, churches,
construction sites, police and fire stations, cemeteries, river systems, dams, weirs, wetlands, shops, hotels,
cafes, letter boxes, the zoo or wildlife sanctuary.

ORGANIC FORMS
Plant forms and living things can be found in and around areas of any school. When the live specimen is
not possible a fossil or skeleton can be a wonderful replacement, Just visit your local science department.
These specimens make fascinating studies and interesting subjects to draw. I have found that students
enjoy the challenge of drawing skeletal structures.

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WORDS ASSOCIATED WITH DRAWING

ELEMENTS OF DESIGN
SHAPE
SIZE
TONE
TEXTURE.
COLOUR (PRIMARY - SECONDARY - TERTIARY - T1NT - SHADE - WARM - COOL ANALOGOUS - COMPLEMENTARY CONTRASTING)
LINE
FORM
VALUE
PRINCIPLES OF DESIGN
BALANCE
CONTRAST
HARMONY
UNITY
MOVEMENT
REPETITION
VALUE
RHYTHM
EMPHASIS

ABSTRACT
AESTHETICS
ANALOGOUS
ATMOSPHERE
ASYMMETRY
BALANCE
BODY ART
CALLIGRAPHIC
CLASSICAL
COLLAGE
COMPLEMENTARY
COMPOSITION
CONCEPTUAL
CONTEMPORARY
CONTRACTION
CONTRASTS
CONVENTIONAL
DISSIMILAR
DISTORT
DIVERGENT
DOMINANCE

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ECLECTIC
ELEGANT
ELONGATE
EXAGGERATE
EXCITING
EXOTIC
EXPANSION
EXPRESSIVE
EXTENDED
FABRICATE
FAMILIAR
FIGURATIVE
FLAMBOYANT
FLEXIBLE
FLUID
FREEFORM
FRESCO
FROTTAGE
FUTURISTIC
GEOMETRIC
GRADATION
GRAFFITI
HARMONIOUS
HORIZONTAL
ICON
IDEALISE
IMBALANCE
INSIPID
INTERPRETATION
KITSCH
LAVISH
LAYERING
LEADING LINES
LUMINESCENT
METAMORPHSIS
MIXED MEDIA
MONTAGE
MOOD
NAVE ART
NEGATIVE SPACE
OBLIQUE
ORDINARY
ORGANIC
PASTICHE
PATTERN
PERIPHERY
PERSPECTIVE
PIGMENT
PLANES
PORTRAITURE
PROPORTION

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REAL TEXTURES
REALISM
RECYCLED
REPETITIVE
RIGID
SENSITIVE
SIMULATED TEXTURES
SCALE
SILHOUETTE
SIMPLIFY
SPARING
SUBTLE
STRUCTURE
STYLE
STYLISED
SURFACE
SYMBOL
SYMBOLISM
SYMMETRY
TACTILE
TRADIITON
TRANSPARENT
UNIFORM
VARIETY
VERTICAL
VIEWPOINT
WEIGHT

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MATERIALS AND TECHNIQUES IN DRAWING

MATERIALS
You will find that there is a multitude of products and equipment available to the artist, ranging from
inexpensive to rather expensive. The following information about materials and techniques is categorised
into the following, headings...

1) SURFACES
2) PENCILS AND CHARCOAL
3) CHALKS, PASTELS AND CRAYONS
4) PEN AND INK
5) PAINT MEDIUMS
6) MIXED MEDIA

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1. Surfaces
Any surface can become an artists field of work, just look to the inventiveness displayed by CRUSTO
when he wrapped the islands in Biscayne Bay, Florida, U.S.A . Not all works of art are done on paper.
For some basic information about surfaces this section will focus upon the various types of papers
available and not endeavour to explore to further afield.

PAPERS
Paper has a natural texture due to the fact that it is primarily composed from fibrous matter. A particular
surface will result from the type of fibre used and upon how the fibres lie during the manufacturing
process. It is these factors which ultimately determine the roughness and the smoothness of the paper's
surface. This is often referred to as how much tooth the paper has, for it is the tooth of the paper which
affects the manner in which the drawing mediums react upon the surface of the paper. Another
determining factor is to what extent the paper has been pressed referring to the surface texture resulting
from this process. Rough papers are often unpressed papers, cold pressed or hot pressed methods will
give the paper varying degrees of smoothness, hot pressed papers being highly smooth. Most papers
purchased are machine manufactured. Some manufacturers of paper still use methods of paper making
which have remained virtually unchanged for hundreds of years, these papers are handmade or made from
moulds and display personalities in their appearances which make them unique even among their own
type. Handmade paper is still produced using traditional methods, dipping a mould into pulp and
agitating it until the pulp lies flat producing a sheet of paper. Handmade papers such as the ever popular
Fabriano range have been in circulation since 1260 AD. These papers remain popular as high quality
drawing papers, they are all-rag, acid-free, which have been air dried and sized. Most high quality papers
come in three degrees of surface textures, smooth, medium and rough. Manufactured paper can include a
variety, of ingredients rag, esparto, grass, wood pulp, china clay, chalk, size, dyes and water are all
possible choices of ingredients pending the final uses for the paper. Paper is measured in pounds per
ream (a ream is 500 sheets), or more often in grams per square metre (gsm). Bulk paper is often sold by
weight.

PAPER TYPES AND USES

Bristol board, ivory card, and smooth papers work well with soft-leaded pencils.
Ingres paper, textured paper, watercolour and rough cartridge papers are better suited to hard leads.
British handmade paper, by Barcham Green is highly suitable for water colours but are also suitable for
pen, pencil, charcoal and pastel and an assortment of other drawing media.
German papers by Heinr, Aug, Schoellershammer are fine drawing papers withstanding erasing.
Schoeller produce a line board and a water colour board.
Japanese Papers are fairly lightweight and are possibly more suited to paints and inks rather than pencil
and chalks. They are however very aesthetic papers, with exceptionally unique colour and textural
qualities. Kozu shi, Toshi, Tonosawa, Hosho and Gifu Sohji are all laid papers. Hodomura is a heavy
white, or cream wove paper.
Pastel use, the following Ingres-type papers are recommended Fabriano, Tumba, Canson andarches.
Vellum is a good surface for delicate work. Glasspaper has a good buff coloured tone and tooth to retain
pigment. Canvases can also be used.
Good quality Cartridge papers are invaluable, as general drawing paper stock.
Pen and ink can be applied upon many paper surfaces Hard to Medium surfaces being the most
serviceable i.e.. Kent I-IP and NI-IP, Saunders HP and NHP, Arches Special MBM, ArchesVatine,
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Bristol board, Fashion board and Daler cartridge paper. With softer papers ink tends to spread
unevenly.
Blotting papers are used to protect and dry off other papers.
Prepared Boards are suitable for paint mediums of which there are many board varieties available.
Lightweight papers used for wet mediums are best soaked for some time and placed upon a wooden
board then fixed to the board using gummed paper strips.
Watercolour papers are versatile papers. Gouache is best applied to watercolour papers with the
exception of the heavier weighted papers in this range and the roughly surfaced papers.
Acrylics, tempera, oils are best painted upon canvas or boards, primed or unprimed using gesso and
impasto mediums to create surface textures. There are now papers available which allow you to use oil
based paints and /or acrylic paints without the effects of turpentine or linseed oil outlines and wrinkling,
which were the results on highly absorbent papers.
The surfaces that may be drawn upon can be many and varied. Choose whatever surface may serve your
purpose.

2. Pencils and Charcoal

CHARCOAL
The earliest demonstrated drawing uses for charcoal were found in the primitive caves of France and
Spain. Pigments made from natural products and charcoal from the fires produced many of the first
drawings known to the human race. Some of these works upon the cave walls at Altimira are between
1.5m wide and 2. 1 m wide. Charcoal is highly suitable for works of such a grand scale, Thus over the
centuries charcoal has remained a utilized drawing material. It was and is still used for large scale
cartoons and for murals. Its popularity was apparent during the large scale era of the Renaissance,' where
murals and drawings were done on a large scale. Charcoal was once made by the artisan who used it. In
the past Willow wood has been highly used. Today vine is also a popular raw material. Both varieties
can be purchased in stick form and in a variety of lengths and widths. Charcoal can be sharpened with
blades or sandpaper. Compressed charcoal is powderground charcoal which is combined with a binding
agent. The benefits of compressed charcoal over stick form is it's strength, being more difficult to break.
Charcoal pencils come in a selection of hard,' medium, and soft. This product allows for easier use and
handling thus creating a more controlled effect. Some charcoal pencils are also self sharpening. To blend
the charcoal on paper use a torchon or tortillon, a putty eraser or clean water and a brush. Henri de
Toulouse-Lautrec ( 1864-1901 ) completed many charcoal and pastel studies.

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LEAD PENCILS
The lead inside of a lead pencil is not exactly lead at all but a mixture of synthetic graphite and clay. The
history of the pencil is a fascinating one, with the very first pencil in 1564 being solid pieces of graphite
held in especially designed holders. As graphite became scarce it became necessary to develop a
substitute. In the past the variety of materials used to make a lead pencil have been waxes, shellac and
resins, with lampblack being used to achieve a further blackness. Leads used in clutch pencils today are
made from a mixture of high quality graphite and polymers. There are many varieties of drawing pencils
to choose from and they are graded by using a numerical system and/or a letter system. Hard pencils are
more suited to writing needs with softer pencils more suited to the needs of drawing and shading.

COLOURED PENCILS:
Coloured pencils come in a variety of forms and their qualities vary from manufacturer to manufacturer.
The same colour type in a difference range of pencils will often give you a totally varying effect. It is
advisable to try out a range of products. Coloured leads are made from a mixture of colouring materials,
filler, lubricant and a binder. Some of the colouring materials used today are water-soluble therefore
creating a range of water-soluble pencils called aquarelles.

PENCIL VARIETIES:
Carbon Pencils- ranging from BBB to HHH, Conte, drawing pencils (black, brown, red and white),
Steadtler mars umographs, litho crayons, Chinagraph pencils, Derwent coloured pencils and blocks,
Caran d'Ache, Blackedge, Col-erase, All Stabilos and Aquarelles (a water-soluble pencil), are but a few
pencil varieties.

ERASERS:
Having applied pencil to paper there may arise the need to erase some of the pigment from the paper.
Having a selection of erasers on hand could prove
useful. Erasers maybe hard for the more durable
surface or soft for the less durable surface. To avoid
unnecessary smudging or tearing choose your eraser
carefully. Because pencils are waxy it is important
to keep your eraser clean. There are a great many
eraser types on the market.

TYPES OF ERASERS
AVAILABLE:
Kneadable putty erasers, soft pencil erasers, gum
erasers, combination erasers, plastic erasers, ink
erasers, pencil eraser, peel off pencil eraser, typist's
eraser and tortillons.

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3. Chalks Pastels and Crayons

Natural chalks are made from mineral substances, manufactured chalks and pastels are made from dry
powdered pigments mixed to a paste using a water-soluble binding medium. The word pastel originates
from the product, paste. Crayons are diverse in their make up due to the addition of a medium containing
a fatty binder, consequently oil pastels are highly blendable. Wax crayons are water-resistant and fight
resistant. Paper, card, wood, and fabric are all receptive surfaces to each of these mediums. The
characteristics of each of these mediums are quite unique. What they do have in common is a wonderful
capacity to be blended. It is difficult to erase areas of pastel, chalk, or crayon. Use a stiff brush, putty
eraser, stump or torchon, being careful not to push too hard and thus creating a compressed surface with
no tooth or this will effect further application. To further preserve chalk and pastels a fixative is applied,
this is necessary to prevent smudging. Wax and oil pastels do not require the application of fixative.

VARIETIES:
Hard pastels, Soft pastels- Rowney and Grumbacher, pastel pencils, oil pastels, wax crayons, conte
crayons, Cran d'Ache crayons and their water soluble variety.

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4. Pen and Ink

It was during the medieval period that calligraphy, pen illustration, illumination and the use of design like
artistry with pen and ink, came to fruition. During the later Renaissance period a newly found freedom
among artisans led to highly creative techniques and methods of drawing. The drawn illustrations of the
Renaissance period displayed more expressive uses of media, with the introduction of crayon,
watercolour and highlights in white, however when Leonardo da Vinci completed his most observed and
scientific of studies, he relied upon the sharp accuracy of pen and ink. Albrecht Durer travelled
throughout Italy and he too became an artisan of the pen. There are many artists who have used the pen
and ink medium, Brueghel, Rembrant, Rubens, Blake, Van Gogh, Matisse and many others. Quills and
reed-pens declined in use when dip pens were invented along with fountain pens. Ballpoint pens today
are associated with the written word rather than with artistic works and the fibre- tipped pens come in a
vast array of colours and types. Ballpoint and fibre pens produce consistent lines and the subtle qualities
present in the more traditional pen and ink mediums is definitely lacking.

TECHNIQUES:
The consideration of several elements of design is of paramount importance when working in this
medium, the qualities of the line produced with the use of dots to delude textures and tones can result in
an endless variety of creative interpretations. The brush and ink work of the famous Chinese painters of
the Ming Dynasty (1368-1644 AD) are illustrations of the effectiveness of subtle brushwork to capture, in
a poetic way, the beauty of nature. From delicacy to boldness, ink can provide a variety of results.
Line drawing
Line and crosshatching
Line and dot
Line and wash
Line and tint
Stippling
Splattering
Blotting
To correct any wrongful marks or splatters try
these tips.
When the ink is dry, try a sharp blade to scrap off
the offending ink stain', or a glass fibre eraser
could prove effective but remember to blow away
excess particles or else they may re-stain the paper
surface. If the ink blot is wet then use dampened
blotting paper, this process may need to be redone
several times. Clean water and a brush for minor or
remaining stains. Soft erasers are a favourite.

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4. Paint Media
OIL PAINTING
If you wish to use oil paints upon a paper surface it is quite possible if the correct paper is purchased from
your supplier and it is prepared. There are many varieties of oil paint and also many colours. A basic kit
of three tubes of primary colours and a black and a white, will provide a good range of colour options.
The red and blue should be cool as a warm red and blue mix provides a dull mauve instead of vibrant
purple when mixed. Underpriming and grounds provide sound surface preparation. Grounds can be of
oil, gesso, emulsion and/ or acrylic. Binders to add to the paints can be either, linseed, walnut or poppy
seed. Various paint additives thin the paint or thicken the paint i.e.. turpentine and linseed oil. Once the
painting is complete it can be varnished and sealed but the recommended drying period for this process is
at least six months.

BRUSHES:
Hair brushes like, higher, sable, squirrel, oxhair come in an assortment of shapes and sizes i.e.. Rounds
and flat, brights, filberts and chisel. Synthetic brushes are also available. Blenders and fans are for
blending and merging wet paint.
Palette knives are used for mixing paint and also for applying paint.

OTHER EQUIPMENT:
Palettes can be of wood, glass, perspex, marble or other non-absorbable material. Greaseproof paper
can be used as a disposable palette.
A mahl stick is a support stick for use while working. It has a padded end and is often made from cane
and a rag. Easels are also in a variety of forms. They assist in propping up the work and can be
collapsible, or in a bench seat style, referred to as donkeys.

WATER COLOURS AND GOUACHE:

Paper of a good quality is the best surface for watercolour and gouache. There being primarily three
major types, hot pressed, not hot pressed and rough. Hot pressed maybe too smooth for most watercolour
applications. The paper is often soaked for some time and stretched. Prepared stretched boards are
available.

PAINTS:
The watercolour paints are made up of finely ground paints pigments and gum arabic. The most widely
used paints are Winsor and Newton, Rowney, Reeves, and Grumbacher. They are represented in three
main colour types - earth colours, organic, and chemical dyes. Gouache also has its paint pigment binded
using gum arabic. However all gouache colours
contain white and thus can be worked from light to
dark easily. Some gouache may contain a plastic
emulsion making them waterproof when dry.

BRUSHES:
Use quality brushes which have well kept, rounded
tips. Hair or synthetic brushes are available.

SOME PROCESSES AND TERMS:

Washes
Shaded wash
Dry brush
Sponging

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Splatter technique:

Masking ( with the use of a masking fluid

REMOVING ERRORS: is very difficult to do.

Diluted ox gall can lift a stain or the use of a very

sharp blade to scrape the first layer of pigment off may also be successful.

ACRYLICS
Acrylics are the most highly versatile paints that you can use. They can be applied to a multitude of
surfaces with a variety of brushes or with a palette knife. If acrylic paint dries upon the brush it maybe
difficult to remove so try methylated spirits. If working on canvas the surface is best prepared with an
acrylic undercoat. When the painting is complete it can be sealed with a matt or gloss varnish.

PAINTS
These paints come in tubes or large bottles even in jars and come in two varieties polyvinyl acetates and
acrylic polymers. The acrylic range is the more favoured. There are several types of media additives
available which provide either a matt or gloss finish. Textured effects can be obtained through the use of
impasto pastes available for acrylics.

TECHNIQUES:
Dry brush
Splatter
Textures
Stippling.

TEMPERA
Tempera paints today are paints which contain oils in emulsion and can be used with water based
mediums. Tempera is a highly durable medium. If used on a correctly prepared surface, when dry it will
not be affected by humidity nor temperature changes when dry. When totally dry the medium is very
hard. Tempera paint can be purchased already processed. If making your own colours, pigment is ground
in distilled water and egg yolk added. To whiten the egg yolk pure alcohol is added and it is then left in
the sunlight to whiten. Tempera paints were the paints of the early Renaissance until the advent of oil
paints allowed for slower drying times hence a greater capacity to blend colours.

SURFACES:

It is unnecessary to prime absorbent surfaces as this medium often protects the

surface it has been applied to. You may also varnish tempera works but they too need to be very dry. A
recommended period of six months is stated.

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6) MIXED MEDIA.
The area of mixed media can be an exploratory experience. The notion of mixed media refers to the use
of more than one media type in a piece of work. Many interesting textures and effects can be produced
using a combination of mediums. There is a wide range of surfaces onto which mixed media can be
placed. The surface itself can be a part of the mixed media experience and challenge convention. With
trials in the past, some favourite combinations of various mediums have always remained popular. The
use of combinations of mediums which are similar in make up i.e.. the family of paint mediums is
common. The combinations of mediums which are dissimilar, like paint and ink mediums with dry,
powdery and greasy crayon mediums, are often the most interesting in the results they achieve and less
practised. The photocopier and computer also play a role in diversifying the scope of the image through
other tools and mediums. New technologies are always a frontier to the avant-garde artist in us all. To
work on unconventional surfaces and explore untraditional techniques can lead to innovative results.
However it can also lead to disastrous failings so be prepared to have an idea of the mediums you would
like to use which do insure success and enjoy exploring as well.

SUGGESTED MEDIA COMBINATIONS:

PASTEL AND LEAD PENCIL

PASTEL AND CHARCOAL
OIL PASTELS AND LEAD PENCIL
OIL PASTEL AND INDIAN INK
WAX CRAYONS AND INDIAN INK
TEXTURED PAPERS WITH ANY DRAWING MEDIUM
GRAPHITE PENCIL AND ERASER
INK, BLEACH AND FINELINER PEN
TURPENTINE AND PHOTOCOPIES OR GLOSSY MAGAZINE ARTICLES
COLLAGE AND PAINT MEDIUMS
COLLAGE AND INK MEDIUMS
NEWSPAPER TYPE AND INDIAN INK
CHARCOAL, NEWSPAPER AND INK
COLOURED TISSUE PAPERS, INKS AND FINELINER
MASKING FLUID UNDER INDIAN INK OR OTHER WET

MEDIUMS

MASKING FILM AND SPLATTER

TECHNIQUES OR
AIRBRUSHING
ATOMIZERS, AIRBRUSHING AND
STENCILING

PHOTOMONTAGE

NATURAL FIBRES AND

PRODUCTS
UNNATURAL PRODUCTS AND OR
SURFACES
STENCILS AND/OR SPRAY CANS
MACHINE STITCHES ON PAPER

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References
The Complete Guide To ILLUSTRATION AND DESIGN Techniques
and Materials
Edited by: Terence Dalley
Publisher: Chartwell Books INC.
Coloured Pencil Drawing Techniques
Author:
lain Hutton-Jamieson
Publisher: Child and Associates Australia
The Encyclopaedia of PASTEL TECHNIQUES
Author:
Judy Martin
Publisher: Simon & Schuster Australia
Drawing; an approach for secondary schools
Author:
Barbara Dover
Publisher: Secondary Art/Craft Standing Committee. Education
Department Victoria
THE FRAMEWORKS: UNIT CURRICULUM ART GUIDE 1989
Curriculum Programmes Branch
Ministry of Education
Western Australia

Thankyou to the following students for samples of their drawings:

Kate Hatch
Oliver Davis
Bree-Anne Dempsey
Joshua Webb

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Student Brief : Drawing

Name:

Appreciation

Studio

Design
Development

Visual
Inquiry

To explore different techniques of mark making using a range of media and papers. Two mounted
drawings are to form the Studio aspect of the Brief . Inspiration and inter-relationship from The
Renaissance.
1. Contour drawings - skeleton, feet, legs, hands - pen. Line.
2. Tonal drawings - draped fabric, soft pencil. Tone.
3. Gesture drawing - posed figures, facial features - pastel, coloured pencil. Line, Tone,
Colour.
4. Collage - adhere non-paint materials using a Renaissance work as a starting point.
Colour, Shape, Texture.
5. Positive/negative space developed from drawings of architecture with a Renaissance
influence. Perspective, Shape.
6. Experimentation of any of the above, photocopy, tear, spray refer to "Art Effects".
Develop compositions from the above and appreciation, with any other drawings needed,
to arrive at final ideas for studio. Annotate all work with relevant comments. Thumbnail
sketches are useful here.

Complete Two window mounted drawings. Try to use different media in each work.

Present an A3 page, well presented, on a Renaissance artist/s of your choice. There

should be some connection to your studio work. This could be by composition, subject
matter, media or any other connection you can think of. This should be noted.

Brief Completion Date:

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Student Brief: Drawing

Name:

Studio

Visual
Inquiry

Appreciation

Working from a still life set up in the classroom, create an interesting composition on A2 size paper
using mixed media.
Research still life drawings and paintings by contemporary Australian artists and by
artists such as Kathleen O'Connor (WA), Paul Gaugwin (French), Pablo Picasso
(Spanish), Paul Cezanne (French) and WA printmaker Leon Pericles.
Prepare several A3 pages in your diary with studies of a glass jar using watercolour. Use
tone to suggest shape and form.
Make a series of drawings on pastel paper using crayon and make a series of sketches of
potted plants and flowers in a vase using fine black pen and ink.
Choose a suitable angle from the classroom still life and block in your composition. You
may deliberately abstract sections of it if you wish. Add colour using mixed media of
your choice.

Brief Completion Date:

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Student Brief : Drawing

Name:

Studio

Visual Inquiry

Appreciation

The basis for a good artwork is a command of basic elements and principles of design leading to good
drawing skills. Through a series of drawing exercises, create an original composition by using skills
you have acquired from the above.
1. An understanding of Renaissance man's contribution to drawing.
2. View video on `Renaissance'
3. View filmstrip on `Renaissance'
4. Timeline of main periods of `The Renaissance', including 8 main artists.
5. A study and understanding of the effect of eye level position through architectural
studies of immediate surroundings ie. school.
6. A still life study focussing on linear tonal work.
7. An experimentation of a variety of media through floral studies, pen/ink, ink/brush,
fineliner, derwent wash pencil, chinagraph etc.
8. A study of portrait proportions: all the above linked to Renaissance man's love of
perspective, nature, science, anatomy etc.
9. On an A3 sheet, make an original interpretive composition based on all or some of the
subjects studied to date.
ie. Be sure to include architecture, nature, objects... in a design like manner be very aware
of the layout on your page. The linking and overlapping of your arrangements. If you
wish for your proportions to relate, by all means do so, but it is not absolutely necessary.
You may use Salvador Dali's surrealistic approach: produce dreamlike images. Use of
media is entirely your choice.

Brief Completion Date:

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Student Brief : Drawing

Name:

Studio

Visual
Inquiry

Appreciation

A. Students will become aware of what constitutes a drawing.

B. Students will develop skills with various mediums.
C. Students will realise the possibilities of the various mediums and their combinations.
1. Research five (5) of the following Western Australian artists John Barker, Elise
Blumann, Ivor Hunt, Kathleen O'Connor, Harold Vike, A.B. Webb, Vlase Zanalis,
Marshall-Clifton. In your research on each artist include important dates, the more
relevant paintings or art works and the influences to be found in their work.
2. Present handout and tutorial to class on selected artist/movement. (Tutorial topics to
be arranged.)
Students are to produce a series of drawings based on The Elements and Principles of Art
(listed below).
Elements of Art: Form, shape, value, texture, colour, line, space.
Principles of Art: Repetition, contrast, harmony, balance, proportion, volume,
movement, tension, pattern, rhythm, unity, emphasis.
A broad range of mediums will be used as well as combinations of those mediums.
At least five (5) major finished mounted drawings are to be presented in a folio for
marking.
These drawings should indicate the students ability to work with a wide variety of
medium and a progression of observational skills.

Brief Completion Date:

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Student Brief :

Painting

Name: Life is a blank canvas - ??? is filling it in

Studio

Design
Development

Research

The development of a painting using still life and figure studies as a stimulus. The exploration of
Surrealism with the development of a minor work. A focus on Australian painters.
1. Develop studies of still life - mixed media.
2. Develop studies of the human figure.
3. Complete homework studies related to class drawing - emphasis on overview and
focused view.
4. Complete one major painting - composition to be developed from drawings.
5. Complete one minor painting - influenced by Surrealism.
6. Complete studies of the elements and principles of design.

7. View videos and slides of selected artists.

8. Analyse two art works.
9. Develop a visual and verbal presentation of a selected Australian artist.

Brief Completion Date:

Student Brief :

Drawing Program

Name:

Studio

Visual
Inquiry

Sound drawing skills are fundamental to all areas of the course. The students will be exposed to a
variety of techniques and media. Consistent referral to other artists will ensure that Inter-relationship
studies are initiated immediately.
This drawing program will teach the students to consider the layout of the page in preparation for
Year 12 visual diary work. The student will be encouraged to experiment with media and formulate a
personal style to their work.
Pencil experiments and drawings: (1) Plants (2) Skeleton/bones.
Charcoal experiments and drawings: (1) Hats (2) Open box with books.
Ink and wash experiments and drawings: (1) Water dam (2) Boots.
Negative space drawing: (1) Bicycles and racks (mixed media).
Perspective drawings: (1) School Buildings/section only (mixed media).
Geometrical shapes (Form through tonal variations)
Pastel experiments and drawing: (1) Material and clothing.

25

Open Box of matches (mixed media)

Frogs and sea sponges

50

Brief Completion Date:

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Student Brief :

Foundation Drawing

Name: Isolation Harmony Destruction Faith

Pursue several ideas that are of special significance to you.

Locate artworks that convey similar feelings.

Research this artist or movement.

Draw accurately - use a variety of media.

Develop 3/5 ideas based on your personal research and response to your own
drawings.
Create an original final studio piece (min A2) on paper/card.

Show your ability to master the chosen media (pencil, charcoal, pastel etc.)

Design
Development

Studio

Research the meaning of each of the words in the project title and the possible effects
each can have on the other.

Research

Visually express your ideas in an abstract, representational or realistic style.

Brief Completion Date:

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Student Brief : Drawing Techniques

Name:

Studio

Design Development

Appreciation

Visual Inquiry

A compulsory part of the year 11 art course is a drawing unit, to develop your skills in various
drawing techniques and to give you the opportunity to explore different media and various visual
stimuli. In addition, you will develop your skills in design development, using your original drawings
as starting points.
Classroom exercises as per activity sheets
Design development
Practical assignment on the Elements and Principles of Art
Improve skill in use of various media and grounds

Visually analyse and relate your work to prints, paintings, and drawings of the artists of
the Renaissance.
Handouts will guide you in this.

Develop one representative and one interpretive design from

(a)
combining more than one drawing
(b)
using a section of a drawing

Using media sensitive and suitable for your subject matter and your design, complete one
of your designs
Mount for exhibition
Write a self assessment of the unit of work and your studio piece.

Brief completion date:

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Student Brief :

Name:
Through a range of drawing exercises exploring the elements and principle" of art and design you will
evolve a body of work in a variety of media which results in a major studio work. This work may be a
suite of drawings or a developed single work. Your historical links may come from a variety of
sources according to the subject matter. you are exploring.
View the video, 'A Difficult Pleasure' on the work of the Australian artist, Brett Whitely
noting the importance of drawing in his painting and the way exaggeration, distortion and
space are used to create ills compositions.

Visual Inquiry

Explore the use of a wide range of media such as charcoal, conic, chalk pencil, 2B, 4B and
6B pencil, pen and ink, brush and ink-, stick and ink, coloured pencil,, oil pastel, paint
sticks eic in drawing exercises which Investigate the theme
Ensure that the elements of art - LINE, TONE, TEXTURE, COLOUR AND SHAPE are
explored and also that the principles of' balance. harmony, and unity are observed in your
drawings and design compositions.
Suggestions of subject matter to pursue.. the sea. seaweeds, fish, sea birds, people on the
beach, shells, boats, flotsam and jetson, rocks, coastal landforms, coastal vegetation and
buildings.

Studio

Appreciation

Using selected drawings, develop a number of designs using processes incorporating

design principles such as repetition, distortion, exaggeration, simplification, positive and
negative shape, enlarging and reversing
Inform your practical exercises by researching the drawings of artists from postImpressionism, expressionism, Australian artists and contemporary artists,
Choose two artists whose techniques and styles you like best and whose work has a
relationship to your own and do an illustrated facts sheet' on each to include in your file.

Having explored a range of media techniques and subject matter, choose those you have
had the most success and enjoyment with and develop a studio work which further
develops your drawing ability, This work may be a single, developed drawing or a series
of small work, which could be mounted together as a suite of related works.

Brief completion date:

50876_1.DOC

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