Inked Lines: A Controlled Hand

This is an abstract piece of what I can tell is a woman, due to the french name, done in ink an pastels. I like this piece and thought it was a good example of hard line-work, although not completely steady. The strokes are thin then thicken in some parts to show shadow and vary from straight lines to curves, forming a bodily figure. The lines are a little rough, but the way they curve and flow make it notable it's planned. Femme is a very captivating geometric piece using only lines and color to grasp the viewer.
I chose this piece because it is composed of strong bold lines. It's shaded through techniques of hatching and cross-hatching while creating an edginess of industrial means. Because of the strong sharp lines I feel as if this could be a real sculpture. The two main arrow-like shapes show that the composition was thought out and balanced by using the rule of thirds.
I really enjoyed this composition because I also like studying the human body in natural states. The line-work on this is incredible. Every line is noticeable, but mold together to form the figure of a sleeping woman, even the hairs on her head. The lines on her clothes give the cloth texture as if you could feel the ripples on her blouse. The shading on the woman's face is also cross-hatching. The artist would definitely have had to have a steady hand to get her proportions right.
Dantis Amor is a beautiful contrast of day and night where God is the sun and Beatrice is the moon. This is the final sketch for the oil painting of Dantis Amor, where we see the organic lines, hatching, cross-hatching and stippling done in the piece. Through the use of lines we are given a conflicted mood as love is limited by time as depicted by Beatrice's death. The shadows of the face through line and cross-hatching let's us know seriousness of the battle between life and death of the ones you love. This piece was carefully constructed through pen and ink with the use of the rule of thirds and focal point. 
This is by far my favorite piece by Julio Gonzalez. He is a master of cubism and line-work to change what would normally be an organic figure, to something geometric. Although most of the subject is converted to cubism there are still some organic parts including the ear, rounded face and parts of the hair. Nonetheless, Julio utilizes hatching as his main form of shading and giving value to this drawing. In some parts the lines are closer to each other to give more of a 3-dimensional feel to the face, whereas some lines are spread farther apart to give light shadow. This is a great example of using lines to create different values in pen drawings.
This beautiful mountainous portrait is made from ink and ink coloring. Using a dry brush, Yuwei formed the mountains and rivers with strong, rough texture. although the lines are not straight, the use of a dry brush gives it more of an earthy organic feel. The use of a thin line brush is noted through the small details in the houses and trees. This goes to show that even though ink can be a messy and hard to fix medium, it takes a controlled hand to create even organic elements in a drawing.
This Jewish form known as Micrography, has to be carefully thought out to form a picture made out of extremely small words, like mini typography art. This style of art really takes a steady hand to make a perfect circle and other lines to form an image. I really admire this style, as it must take a good amount of time to create such a geometrically accurate image.
The line-work in this drawing uses traditional Chinese brushwork reproduced by Li Yanshan, as the original was lost in a fire. Through his use of lines we see the beautiful and rigid textures of the rocks and trees in ink. Details are added with thinner brushes for the plants, people and buildings. There aren't many crossing lines, mostly organic forms created through control of the hand that give the drawing a real mountainous outline.
One of my favorite styles of art to see are studies and the process of work. In this page of Leonardo da Vinci's sketchbook we see his process of creating the human body through line-work. He uses crosshatching to create depth in the should blades of this old man. We see where his muscles are, where his body curves, all through the use of cross-hatching and outlining. This is the process of properly utilizing line to create a figure, rather than using solid shapes and values. 
Now, this piece does not contain much line-work, but I thought it was interesting to see the process of lines before the second part of the moth was painted. The lines really capture the organic shape of the moth's wings and every delicate feature of them. This is noted by the outline of the tubular veins in the right wing of the second moth, before it is covered in ink and watercolor. Even under the watercolor, the wing outlines are still noticeable so they make an impact on the shape and contrast of the moth's wings. 
This is such a good example of line-work in the process of creating a composition. In this pen drawing we see how the artist Daniele Crespi utilized ink to create the figures of the women and organ in the room. His use of control with hatching will help determine where the values are in the drawing. He really captures the emotion and movement of the women through hatching, organic and geometric lines, including the natural shape of the women's bodies to the hard straight lines of the organ.
In this composition by Van Gogh, we feel the darkness of winter through his use of hatching and cross-hatching to create value in the environment around us. I feel that in this piece he really captures the strong contrast of the bare trees and light sky during this season. You can feel the texture of the lines in the trees as they thin then thicken out when moving from left to right. He utilizes spacing in his lines very well to create different values and shadows of the trees, chicken and church house.
This pen piece is light and has a very cartoon-esque feel to it. the use of light lines in some parts show the process of the artist at the beginning of the composition, while the right side contains more shading and thickness through heavy lines and hatching. You can see where the lines start to get more controlled to form more solid organic figures and movement, especially in the arms, faces and some legs. I would love to see the finished product of this piece and how much more the lines progress to create even more value and shading. Through the lines we also see different layers of the composition and where things get farther in the distance.
This monastery gives a real sense of depth and value. The lines flow to a vanishing point down the hallway in a controlled manner. The arches and pointed ceiling are accurately lined up to the vanishing point. Shading in the building through cross-hatching can be noticed on the walls, as the go according to the angles and curves of the ceiling. This is a very structured drawing with a good use of thickness of line. There are also both organic and geometric lines that show us the natural architecture of the building and monks.
This is by far my favorite of the line compositions I have in this gallery. The lines of the building are geometric yet whispy, which give off a delicate sense of the curved architecture. The cross-hatching in the late is wonderful, as it seems like we see the reflections of the dock and citizens by the water. The cross-hatching in the building's openings and trees give value and depth to the piece, creating a sense of distance. The organic outlines of people closer to us give a real feel of the human body. Overall, this is a beautiful scene with excellent use of controlled line-work to convey a day in the life of this town.
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