1.3: Drawing Surfaces
- Page ID
- 341441
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)In drawing, the surface on which the artist works is not just a background but a crucial component that significantly influences the outcome of the artwork. The choice of drawing surface can affect texture, absorbency, and the overall interaction of the medium with the underlying surface. Understanding the variety and properties of different drawing surfaces is essential for artists to realize their creative visions fully.
Historically, the choice of drawing surfaces was dictated by availability and practicality. Early artists utilized cave walls, papyrus, and animal skins. The invention of paper in China around the second century and its later introduction to Europe in the 12th century marked a significant turning point that revolutionized drawing. This new, versatile material allowed for more refined and diverse artistic expressions. Over the centuries, the development and refinement of paper and alternative surfaces have continually expanded the possibilities for artists.
"Professional Grade Drawing Paper" by James K. on Flickr is licensed by CC BY 2.0.
Composed of plant fibers, paper is designed with specific properties like weight, texture, and absorbency to suit various drawing techniques. For instance, sketch paper, typically lighter in weight (around 60-90 grams per square meter or GSM), offers a slightly textured surface suitable for dry media like graphite and charcoal. On the other hand, the Bristol board is a heavyweight paper (about 250 GSM) with a smooth surface, ideal for detailed ink and marker work. Watercolor paper, available in hot-pressed (smooth), cold pressed (textured), and rough varieties, is crafted to manage water-based media effectively, varying in weight from 190 to 800 GSM. Its absorbency and texture are crucial for techniques ranging from detailed washes to expressive brushstrokes. Canvas paper, mimicking the texture of canvas, is thicker and more textured, suitable for media like oil pastels and acrylics.
Beyond traditional paper, artists have explored alternative surfaces for unique effects. Wood panels, dating back to the Renaissance, provide a sturdy and textural surface for paintings, infusing an organic element into drawings. Historically used for tapestries and scrolls, fabrics offer distinct textures and absorbency levels, ideal for experimenting with different media. The latest advancements in drawing surfaces and digital screens, such as those on tablets and graphic monitors, represent the technological evolution in art. They offer a clean, versatile surface with technology that simulates various traditional drawing experiences.
Each drawing surface has distinct characteristics and should be chosen based on the desired effect and the medium used. For instance, watercolor paper's ability to manage washes and wet media makes it unsuitable for fine graphite work, where a smooth Bristol board would be more appropriate. Similarly, the rough texture of wood panels might detract from delicate linework but can add an intriguing element to broader, more expressive strokes. By experimenting with different surfaces, artists can discover how these interact with their chosen media, thereby expanding their artistic repertoire and enhancing the expressive potential of their work.