Drawing
In drawing, "media" refers to both the material that is manually applied and to the base onto which it is applied.
The media applied can be many things but the method of application is a stick type object with a point (not a brush) that transfers particles of media to the base. The point of the stick can be minute as it can be large. The medium applied can be graphite, fusain, pastel, ink among other things. Bases can be paper, plaster, canvas, wood or basically anything that accepts the medium applied from the point of the stick.
Common drawing media
- Chalk
- Charcoal soft or hard
- Conté
- Crayon
- Graphite (can be pencils which are small or large sticks similar to charcoal)
- Human finger (with ink or paint)
- Marker
- Pastel
- Pen and ink
- Pencil
- Watercolour
Common bases for drawing
Genre: Abstract Portrait
Medium: Graphite & Charcoal
Dimensions: 40 x 40
Date Created: 2004
Artist: Toni Anita Gray
Price: $300
Portrait
noun
A portrait of the first lady: painting, picture, drawing,sketch, likeness, image, study, miniature; informal oil;formal portraiture.2 a vivid portrait of Italy: description, portrayal,representation, depiction, impression, account;sketch, vignette, profile.
A painting, drawing, photograph, or engraving of a person, esp. one depicting only the face or head and shoulders.• a representation or impression of someone or something in language or on film : the writer builds up a full and fascinating portrait of a community.2 [as adj. ] (of a page, book, or illustration, or the manner in which it is set or printed) higher than it is wide : you can print landscape and portrait pages in the same document. Compare with landscape (sense 2).
TYPES OF PAPER
Glossy Photo Paper
Luster Photo Paper
Semi-Matte Photo Paper
Picture Rag
Somerset Velvet
Watercolor Paper
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Charcoal and graphite are amongst the most fundamental of art materials, and shouldn't be forgotten when investigating mixed media painting techniques. You can use the inherent characteristics of each to great effect, contrasting not only lighter and darker tone, grey and black, but also matte and glossy surface finish.
Charcoal is much blacker than graphite, even when applied lightly or thinly, leaving a flat, matte surface. Charcoal comes in various forms:
Using charcoal couldn't be simpler: press it onto the paper and it leaves a mark. The harder you press, the more charcoal gets applied. You can lighten areas by lifting off some of the charcoal with an eraser. If you collect the dust, you can apply it with a brush as you would powdered graphite. Apply fixative to stop charcoal smudging.
Note: Working with charcoal is messy, and you need to take suitable precautions, especially about breathing in dust. When you want to dislodge excess dust from an artwork, tap the board rather than blowing on it.
Graphite, or pencil, produces a range of tones, from a very light grey to very dark depending on the hardness of the pencil and how you've applied it, though not easily as black as charcoal. The more layers of graphite you apply, the shinier the surface becomes. You can't eliminate this property of graphite easily; you might for instance spray on a matte acrylic medium or a matte varnish. Graphite comes in various forms:
Remember, heavily layered graphite is slippery and you may encounter adhesion problems if you try to apply charcoal over it. Spraying some fixative over it will help.
Mixing graphite and charcoal gives you the chance to create glossy and matte sections in an artwork. Use these characteristics to enhance your mixed media painting, don't fight against it and don't expect something the medium isn't capable of doing. I've seen minimalist abstract art created with only graphite and charcoal where, at first glance, the paper seems to be a uniform dark grey. It's only when you position yourself so the light catches the shinier sections where graphite was applied that you begin to see the patterns and shapes in the artwork.
When you introduce paint, remember that charcoal will smudge, as will very soft or thickly applied pencil. Again, work with this rather than against it: let the charcoal and pencil merge with the paint to create a transition, or an extra color. Or remember it'll happen and paint up to the edge only rather than into it. Don't forget the option to use charcoal and pencil into still-wet paint! If you're using graphite or charcoal over dried acrylic paint and have adhesion problems, try applying a clear gesso or matte medium over acrylics to create a little tooth for it to grab onto. Lightly sanding the surface is another option.
Medium: Graphite & Charcoal
Dimensions: 40 x 40
Date Created: 2004
Artist: Toni Anita Gray
Price: $300
Portrait
noun
A portrait of the first lady: painting, picture, drawing,sketch, likeness, image, study, miniature; informal oil;formal portraiture.2 a vivid portrait of Italy: description, portrayal,representation, depiction, impression, account;sketch, vignette, profile.
A painting, drawing, photograph, or engraving of a person, esp. one depicting only the face or head and shoulders.• a representation or impression of someone or something in language or on film : the writer builds up a full and fascinating portrait of a community.2 [as adj. ] (of a page, book, or illustration, or the manner in which it is set or printed) higher than it is wide : you can print landscape and portrait pages in the same document. Compare with landscape (sense 2).
TYPES OF PAPER
Glossy Photo Paper
Luster Photo Paper
Semi-Matte Photo Paper
Picture Rag
Somerset Velvet
Watercolor Paper
_______________________________________________________________________________________________________________________
Charcoal and graphite are amongst the most fundamental of art materials, and shouldn't be forgotten when investigating mixed media painting techniques. You can use the inherent characteristics of each to great effect, contrasting not only lighter and darker tone, grey and black, but also matte and glossy surface finish.
Charcoal is much blacker than graphite, even when applied lightly or thinly, leaving a flat, matte surface. Charcoal comes in various forms:
- Thin and thick sticks in varying degrees of hardness, known as willow or vine charcoal, depending which wood it's created from (Buy Direct). This is the form you'll typically encounter in art class.
- Compressed charcoal (Buy Direct) which is very dark, and a little less messy to use as it gives off less dust.
- As a pencil (Buy Direct) which makes it less messy to hold in your hand, and easier to sharpen. These come in various degrees of hardness, as well as color-tinted versions (Buy Direct).
- Also useful with charcoal: Fixative (Buy Direct) and a Kneaded or Putty Eraser (Buy Direct)
Using charcoal couldn't be simpler: press it onto the paper and it leaves a mark. The harder you press, the more charcoal gets applied. You can lighten areas by lifting off some of the charcoal with an eraser. If you collect the dust, you can apply it with a brush as you would powdered graphite. Apply fixative to stop charcoal smudging.
Note: Working with charcoal is messy, and you need to take suitable precautions, especially about breathing in dust. When you want to dislodge excess dust from an artwork, tap the board rather than blowing on it.
Graphite, or pencil, produces a range of tones, from a very light grey to very dark depending on the hardness of the pencil and how you've applied it, though not easily as black as charcoal. The more layers of graphite you apply, the shinier the surface becomes. You can't eliminate this property of graphite easily; you might for instance spray on a matte acrylic medium or a matte varnish. Graphite comes in various forms:
- Traditional, Wooded Pencils from hard to soft. Try a few different ones -- 2H, 2B, 8B -- you don't need every single grade! (Buy Direct)
- Woodless Pencils which don't need sharpening unless you want a fine point (Buy Direct)
- Powdered Graphite (Buy Direct) which you can apply with a stiff brush, cotton bud, or piece of cloth. (Again, work sensibly with any medium that's powdered to avoid inhaling it.)
- Liquid Graphite, like paint made with graphite rather than colored pigment (Review: Liquid Pencil, Buy Direct).
Remember, heavily layered graphite is slippery and you may encounter adhesion problems if you try to apply charcoal over it. Spraying some fixative over it will help.
Mixing graphite and charcoal gives you the chance to create glossy and matte sections in an artwork. Use these characteristics to enhance your mixed media painting, don't fight against it and don't expect something the medium isn't capable of doing. I've seen minimalist abstract art created with only graphite and charcoal where, at first glance, the paper seems to be a uniform dark grey. It's only when you position yourself so the light catches the shinier sections where graphite was applied that you begin to see the patterns and shapes in the artwork.
When you introduce paint, remember that charcoal will smudge, as will very soft or thickly applied pencil. Again, work with this rather than against it: let the charcoal and pencil merge with the paint to create a transition, or an extra color. Or remember it'll happen and paint up to the edge only rather than into it. Don't forget the option to use charcoal and pencil into still-wet paint! If you're using graphite or charcoal over dried acrylic paint and have adhesion problems, try applying a clear gesso or matte medium over acrylics to create a little tooth for it to grab onto. Lightly sanding the surface is another option.
TDepression
Genre: Charcoal & Graphite (blurred & indistinct)
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depression |diˈpre sh ən|
noun
Severe despondency and dejection, typically felt over a period of time and accompanied by feelings of hopelessness and inadequacy.• Medicine a condition of mental disturbance characterized by such feelings to a greater degree than seems warranted by the external circumstances, typically with lack of energy and difficulty in maintaining concentration or interest in life : clinical depression.• a long and severe recession in an economy or market : the depression in the housing market.• ( the Depression or the Great Depression) the financial and industrial slump of 1929 and subsequent years.2 the lowering or reducing of something : the depression of prices.• the action of pressing down on something :depression of the plunger delivers two units of insulin.• a sunken place or hollow on a surface : the original shallow depressions were slowly converted to creeks.• Astronomy & Geography the angular distance of an object below the horizon or a horizontal plane.• Meteorology a region of lower atmospheric pressure, esp. a cyclonic weather system.
ORIGIN late Middle English : from Latin depressio(n-), from deprimere ‘press down’ (see depress ).
In this work of art, I tried to illustrate the feeling of depression working from what the person who is experiencing depression at that moment thinks they look like; feel like; the images they think others see. And in doing this work I had to bring to mind words like hollow, cavity, sinkhole, basin, unhappiness, misery, woe, gloom low spirits, a heavy heart, despair, desolation, be3ing upset and tearfulness; desolation and the blues; being in what some might call "a funk". This can be a issue related to psychiatry, a seasonal affective disorder or a figment of someone's own imagination. There are cases where there really is no depression but the individual creates one themselves. This slump, decline, stagnation and standstill in ones emotions, physicality, and mentality is deadly if not to the body then definitely to the spirit.
This woman is not really fat or out of shape but because of her determination to believe these things to be so, this is how she see's herself daily. She's visually impaired in one sense not willing to see who she is in reality. She's constantly seeing each day as cloudy, hence the gray hues, found in the background. Thinks her breast are flat, but in actuality they are almost perfect. She constantly says her arms are too long but in actuality they are quite normal. She always says she's stupid, the reason for the empty head with a small faded circle for a brain. Her own mental depiction of herself is her worst enemy, everyday. What an awful way to wake up to such a beautiful world to people who I am sure love her deeply in her own family.
Available Sixes of Prints or Posters
6.25" x 8.00" $50
7.88" x 10.00" $75
9.38" x 12.00" $100
11.00" x 14.00" $125
12.63" x 16.00" $150
15.75" x 20.00" $175
18.88" x 24.00" $200
23.63" x 30.00" $225
28.25" x 36.00" $250
31.38" x 40.00" $275
Giclee Pricing for Charcoal and Graphite Works of Art
Medium:
Dimensions:
Date Created:
Artist:
depression |diˈpre sh ən|
noun
Severe despondency and dejection, typically felt over a period of time and accompanied by feelings of hopelessness and inadequacy.• Medicine a condition of mental disturbance characterized by such feelings to a greater degree than seems warranted by the external circumstances, typically with lack of energy and difficulty in maintaining concentration or interest in life : clinical depression.• a long and severe recession in an economy or market : the depression in the housing market.• ( the Depression or the Great Depression) the financial and industrial slump of 1929 and subsequent years.2 the lowering or reducing of something : the depression of prices.• the action of pressing down on something :depression of the plunger delivers two units of insulin.• a sunken place or hollow on a surface : the original shallow depressions were slowly converted to creeks.• Astronomy & Geography the angular distance of an object below the horizon or a horizontal plane.• Meteorology a region of lower atmospheric pressure, esp. a cyclonic weather system.
ORIGIN late Middle English : from Latin depressio(n-), from deprimere ‘press down’ (see depress ).
In this work of art, I tried to illustrate the feeling of depression working from what the person who is experiencing depression at that moment thinks they look like; feel like; the images they think others see. And in doing this work I had to bring to mind words like hollow, cavity, sinkhole, basin, unhappiness, misery, woe, gloom low spirits, a heavy heart, despair, desolation, be3ing upset and tearfulness; desolation and the blues; being in what some might call "a funk". This can be a issue related to psychiatry, a seasonal affective disorder or a figment of someone's own imagination. There are cases where there really is no depression but the individual creates one themselves. This slump, decline, stagnation and standstill in ones emotions, physicality, and mentality is deadly if not to the body then definitely to the spirit.
This woman is not really fat or out of shape but because of her determination to believe these things to be so, this is how she see's herself daily. She's visually impaired in one sense not willing to see who she is in reality. She's constantly seeing each day as cloudy, hence the gray hues, found in the background. Thinks her breast are flat, but in actuality they are almost perfect. She constantly says her arms are too long but in actuality they are quite normal. She always says she's stupid, the reason for the empty head with a small faded circle for a brain. Her own mental depiction of herself is her worst enemy, everyday. What an awful way to wake up to such a beautiful world to people who I am sure love her deeply in her own family.
Available Sixes of Prints or Posters
6.25" x 8.00" $50
7.88" x 10.00" $75
9.38" x 12.00" $100
11.00" x 14.00" $125
12.63" x 16.00" $150
15.75" x 20.00" $175
18.88" x 24.00" $200
23.63" x 30.00" $225
28.25" x 36.00" $250
31.38" x 40.00" $275
Giclee Pricing for Charcoal and Graphite Works of Art
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Forshadowing
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Title: Good Hair Days
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Title: I'm Not Fat!
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Painting
Outline of painting
In painting, "media" refers to both the type of paint used and the base (or ground) to which it is applied. A paint's medium refers to what carries a paint's pigments, and is also called a "vehicle" or a "base". A painter can mix a medium with solvents, pigments, and other substances in order to make paint and control consistency.
Common paint media
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Painting
Outline of painting
In painting, "media" refers to both the type of paint used and the base (or ground) to which it is applied. A paint's medium refers to what carries a paint's pigments, and is also called a "vehicle" or a "base". A painter can mix a medium with solvents, pigments, and other substances in order to make paint and control consistency.
Common paint media
- Acrylic paint
- Blacklight paint
- Fresco
- Gesso
- Glaze
- Gouache
- Ink
- Latex paint
- Magna paint
- Oil paint
- Primer
- Stencil
- Sumi
- Tempera or poster color
- Vinyl paint (toxic/poisonous)
- Vitreous enamel
- Watercolor
Toni Anita Gray
African American, 1954-
Children Sitting on a Fence, 1874
Graphite, with Charcoal, on medium weight, slightly textured gray wove paper
193 x 239 mm
Signed by Toni A. Gray, lower right corner, in graphite: "W.H. 74"
Inscribed verso, lower left corner, in graphite: "Original drawing by "Toni A. Gray"
The GrayGirlGalleria Collection, 2004.2005
_____________________________________
During the years of her creative inspiration, (2004-2006), while studying at DePaul Universities Art Department, it was a time of self reflection and exploration for Gray. Trying not to focus on art's most popular subjects at this time Toni intentionally focused more on herself as an artist, what art meant to her, how it made her feel and how to illustrate all this in her own personal works.
In personality, Toni is a realist, and it is by and through these principlles by whic she proceeds. Her up and coming book of her paintings, drawings, photography and other works of art, will illustrate that in her mind, art is good. What is a work of art to Gray? It is her deepest expression of her own personality through various mediums that attached themselves invisiblly to her spiritual self and her subject matter. Subjkect-matter in her art is dependant upon her own heart, soul and spirit while being independantly outside every aspect of her being. Toni is human as we all are however, she separates herself form her art which is her personal point of departure from the self and the art to become its labeled artist. As she connects with the laws of nature, the laws of self, the laws of spirit, the laws of art, Anita finds that she is capable of fulfilling every aspect of her own experiences as a ideal artist who knows ad retaisn her own experiences and wonders at her own creativity.
This work entitled "5am/9am" is an example of both sides of Gray. The first side is the person who first wakes in the early morn, jumps out of bed without shower or bath, hair uncombed from the night before, evidence of tussling with the nights dreams and visions adn awakening to a new day with the "breath of life" still within herself. The other half of the artwork is clearly after approximately 9am when Gray has bathed or showered, washed and styled her hair for the day, applied makeup and is preparing to dress for outdoor activities. Although Gray wears glasses, in this piece they only appear on her face around 5am when it may still be dark in the home but after 9am when there is more light present, glasses are not needed unless for reading. The art work suggest that in the early morning hours, Gray is nor organized but becomes completely organized and the morning moves forward and closer to noon day.
Gray in understanding this conception of her adulthood in her city of rural settings that try to dominate her work of the early years of the 2000's these works of art presented during this time period of her life shows how Toni used monochrome drawings to study herself, her artistic style and her relationships to map out how she fits in the world and how art affects that world. Essentially the drawings, Monograms, Photography, Watercolors, Oils, Etchings, Print Blocks, Lithographs, and
and the watercolor, the white highlights on the children’s hats and bodies in the drawing differ from the highlights Homer employed in the watercolor, suggesting that his treatment of light was sometimes improvised away from the scene. His preparatory drawings served as guides but did not prevent experimentation in the studio.
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African American, 1954-
Children Sitting on a Fence, 1874
Graphite, with Charcoal, on medium weight, slightly textured gray wove paper
193 x 239 mm
Signed by Toni A. Gray, lower right corner, in graphite: "W.H. 74"
Inscribed verso, lower left corner, in graphite: "Original drawing by "Toni A. Gray"
The GrayGirlGalleria Collection, 2004.2005
_____________________________________
During the years of her creative inspiration, (2004-2006), while studying at DePaul Universities Art Department, it was a time of self reflection and exploration for Gray. Trying not to focus on art's most popular subjects at this time Toni intentionally focused more on herself as an artist, what art meant to her, how it made her feel and how to illustrate all this in her own personal works.
In personality, Toni is a realist, and it is by and through these principlles by whic she proceeds. Her up and coming book of her paintings, drawings, photography and other works of art, will illustrate that in her mind, art is good. What is a work of art to Gray? It is her deepest expression of her own personality through various mediums that attached themselves invisiblly to her spiritual self and her subject matter. Subjkect-matter in her art is dependant upon her own heart, soul and spirit while being independantly outside every aspect of her being. Toni is human as we all are however, she separates herself form her art which is her personal point of departure from the self and the art to become its labeled artist. As she connects with the laws of nature, the laws of self, the laws of spirit, the laws of art, Anita finds that she is capable of fulfilling every aspect of her own experiences as a ideal artist who knows ad retaisn her own experiences and wonders at her own creativity.
This work entitled "5am/9am" is an example of both sides of Gray. The first side is the person who first wakes in the early morn, jumps out of bed without shower or bath, hair uncombed from the night before, evidence of tussling with the nights dreams and visions adn awakening to a new day with the "breath of life" still within herself. The other half of the artwork is clearly after approximately 9am when Gray has bathed or showered, washed and styled her hair for the day, applied makeup and is preparing to dress for outdoor activities. Although Gray wears glasses, in this piece they only appear on her face around 5am when it may still be dark in the home but after 9am when there is more light present, glasses are not needed unless for reading. The art work suggest that in the early morning hours, Gray is nor organized but becomes completely organized and the morning moves forward and closer to noon day.
Gray in understanding this conception of her adulthood in her city of rural settings that try to dominate her work of the early years of the 2000's these works of art presented during this time period of her life shows how Toni used monochrome drawings to study herself, her artistic style and her relationships to map out how she fits in the world and how art affects that world. Essentially the drawings, Monograms, Photography, Watercolors, Oils, Etchings, Print Blocks, Lithographs, and
and the watercolor, the white highlights on the children’s hats and bodies in the drawing differ from the highlights Homer employed in the watercolor, suggesting that his treatment of light was sometimes improvised away from the scene. His preparatory drawings served as guides but did not prevent experimentation in the studio.
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Toni Anita Gray
African American, 1954–Present
Self-Portrait, 2005
Oil on canvas
75 3/4 x 35 in. (192.5 x 89 cm)
Signed and dated, l.r.: "Beckmann/3.37"
Gift of Lotta Hess Ackerman and Philip E. Ringer, 1955.822
© 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, BonnMedieval to Modern European Painting and Sculpture
Gallery 395A
Exhibition, Publication and Ownership Histories
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African American, 1954–Present
Self-Portrait, 2005
Oil on canvas
75 3/4 x 35 in. (192.5 x 89 cm)
Signed and dated, l.r.: "Beckmann/3.37"
Gift of Lotta Hess Ackerman and Philip E. Ringer, 1955.822
© 2008 Artists Rights Society (ARS), New York / VG Bild-Kunst, BonnMedieval to Modern European Painting and Sculpture
Gallery 395A
Exhibition, Publication and Ownership Histories
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