PROJECT 2: LINE

From the point to the line.

As demonstrated, the point is a means of indicating a starting position and an ending position. In order to connect the two, to chart the movement between points, we establish line. But there is more than one type of line to indicate our movement from one point to another. Just as we travel down different paths when we walk throughout the day, there are straight lines and curved lines. There are slow curves and hard angles that we make. Sometimes we walk with a slowness or laziness in our stride, and we meander or wander, and sometimes we walk with a greater sense of purpose, with a precision, aiming for a specific location. Such is the approach we will take with line as a visual element.

A few examples of the meaning we may associate with linear movements: vertical lines suggest power and authority; horizontal lines suggest peace and tranquility; diagonal lines suggest tension and movement; curved lines suggest grace and fluidity. In Design I, we will begin our exploration of line with the use of two types that I will identify as mechanical and organic. For our purposes, such distinctions will be used to associate the difference between a mechanical structure and an organic structure.


The mechanical line is a line that is fairly regulated. That is, it is a mark without any change in width within itself, and is used primarily to define structure with precision. Often, a mechanical line is created with the aid of drafting tools, such as a template of some sort, straightedge, compass, or for that matter even a french curve. Although the mechanical line can be curved and can express fluidity, it is a harder line in itself without tonal gradation of fluctuation of width. It's character is more severe than that of the organic line.

The organic line is a line that does reflect changes in the tendencies of the hand. It is a line that can possess more emotion or character within itself, meaning that it's width and density can change-- it can fatten or slim with a kind of internal ebb and flow. It can be softer that the mechanical line. The organic line is not a line created with the aid of hard-edged drawing aids such as those mentioned above for use with mechanical line. The organic line is far more unpredictable than the mechanical line.


For your project, you will explore the contrasts between these two line types, within a single composition. You can do this in a number of ways: by weaving the mechanical and the organic between one-another, by creating "partitions" of contrasts, or by composing an "abstract comic strip" in which a grid of squares contains miniature compositions of the organic and the mechanical that may convey a sequence of transformation.

1) on your gridded paper, in pencil, you will work out three thumbnail sketches to plan your image. Consider the organizing principles of design. 

2) on a sheet 8.5 x 11 paper, you will work out one of the three designs that is the most successful, in graphite. Remember, for the mechanical "zones" use the tools you need to make it mechanical. Here are some examples of previous student efforts dealing with the mechanical line alone:





When dealing with the organic, you can roughly map out these "zones" in light pencil, and then intuitively fill them in with organic lines using your ink pens. Here are some examples of stand-alone organic line projects by previous students:







3) I will make a xerox copy of your drawing. On the back of the drawing, you will rub a piece of graphite, lightly covering it.

4) Place the graphite-covered side down, centered, onto your linoleum block. Tape in place. Using a ballpoint pen, you are to trace your drawing onto the linoleum block. Remove the xeroxed drawing. Using a sharpie, ink your transferred image.

5) Using your lino-cutter tool, you will then proceed to carve away the areas of the composition that you do not wish to print (I will demonstrate this in class). 

6) Lastly, you will create a small edition of prints from your linoleum block. You will need to purchase some sheets of printmaking paper for this (I will discuss types and sizes) I will show you how to measure it and tear it down, and will give a full demonstration of how to ink your block and print it (please do not use the printing press without my supervision).

ONE PRINT DUE for critique on THURSDAY, FEBRUARY 9. 

Here are two examples of mechanical/organic line works by two 20th century American artists.

The first, is a work by Sol Lewitt (1928 - 2007). Mr. Lewitt often approached the act of drawing from a highly rigorous and conceptual starting point. There would be a set of rules to be defined, and then a drawing would be executed by following those rules. The final visual outcome, although determined by the rules, would not be fully known until the work was completed. An example of this would be something like: "In sixteen squares, each two by two inches, draw a series of 20 lines that would alternate in direction from square to square. Repeat this in the opposite direction." The result could be something similar to the line drawing shown below:


The second work, by Bruce Conner (1933 - 2008), although also employing a few "rules," is much more a reaction to a stream of consciousness state of mind. The drawing below is one of many such works in which Mr. Conner would define "working zones" on a sheet of paper, such as a series of lightly drawn circles or squares. Taking a black pen, he would proceed to sit and "fill in" the zones with line work until the pen would run out. He would then take up another pen and continue. The creation of these mandala-like images would be a form of meditation for the artist in which a kind of trance state could be induced.

Images: 1. - 2. student archive images of Mechanical + Organic Line projects. 3. - 6. student archive images of Mechanical Line projects; 7. - 12. student archive images of Organic Line projects; 13. Sol Lewitt: Drawing Series III/2314/A & B, 1969, ink and pencil on paper, 12 x 24", collection of The Museum of Modern Art; 14. Bruce Conner: 23 Kenwood Avenue, 1963, ink on paper, 26 x 20", collection of the Museum of Modern Art.