Linerism

Lawrie :

In the early 1980’s my drawings were done in mostly in Black Ink using my drafting squares, applying one line at a time to the paper. I didn’t know that someone had been doing this style of work already, to a much finer degree than I, and that it had a name. Linearism ! At some point in the mid to late 80’s I did stumble across Marcus Uzileskys’ work and I smiled. Below you will find a little information about him and a few examples of his Linear Landscapes as well as some of his pointillism. To find out more about this wonderful artist, please do a Google search on his name. Some examples of my Linear work would be “West Coast Blues” and “Sailors’ Delight”

Marcus Uzilevsky :

Distinguished California artist Marcus Uzilevsky, most known for his linear landscapes and music series, is represented in the permanent collections of numerous museums around the world. Since 1974 he has had over 50 one-man shows and obtained many awards in juried museum competitions.

Even Tide

Lily of the Valley

Examples of “Linearism“

by Marcus Uzilevsky

Pointillism

Pointillism is a style of painting in which small distinct points of primary colors create the impression of a wide selection of secondary and intermediate colors. The technique relies on the perceptive ability of the eye and mind of the viewer to mix the color spots into a fuller range of tones and is related closely to Divisionism, a more technical variant of the method. It is a style with few serious practitioners and is notably seen in the works of Seurat, Signac, and Cross. The word Pointillism is actually the incorrect term used more popularly today than its actual name of Neo-Impressionism. The term itself was first coined by art critics in the late 1880s to ridicule the works of these artists and is now used without its earlier mocking connotation.

The practice of Pointillism is in sharp contrast to the more common method of blending pigments on a palette or using the many commercially available premixed colors. The latter is analogous to the CMYK or four-color printing process used by personal color printers and large presses; Pointillism is not analogous to the colors and process used by computer monitors and television sets to produce colors; the latter uses green and no yellow at all to produce colors from green through orange as well as gray, brown and black.

If red, blue and green light (the additive primaries) are mixed, the result is something close to white light. The brighter effect of pointillist colours could rise from the fact that subtractive mixing is avoided and something closer to the effect of additive mixing is obtained even through pigments.
The brushwork used to perform pointillistic color mixing is at the expense of traditional brushwork which could be used to delineate texture. Color television receivers and computer screens, both CRT and LCD, use tiny dots of primary red, green, and blue to render color, and can thus be regarded as a kind of pointillism. Pointillism also refers to a style of 20th-century music composition, used by composers like Anton Webern.

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Detail from Seurat’s La Parade (1889), showing the contrasting dots of paint used in pointillism.

Thumbnail image of ” Goose Lake ” and detail

Stippling

Stippling is the technique of using small dots to simulate varying degrees of solidity or shading.

In a drawing or painting, the dots are made of pigment of a single color, applied with a pen or brush; the denser the spacing of the dots, the darker the apparent shade — or lighter, if the pigment is lighter than the surface. This is similar to – but distinct from – pointillism, which uses dots of different colors to simulate blended colors.

In printmaking, dots may be carved out of a surface to which ink will be applied, to produce either a greater or lesser density of ink depending on the printing technique. In engraving, the technique was invented by Giulio Campagnola in about 1510. Stippling may also be used in engraving or sculpting an object even when there is no ink or paint involved, either to change the texture of the object, or to produce the appearance of light or dark shading depending on the reflective properties of the surface: for instance, stipple engraving on glass produces areas that appear brighter than the surrounding glass.

The technique became popular as a means of producing shaded line art illustrations for publication, because drawings created this way could be reproduced in simple black ink. The other common method is hatching, which uses lines instead of dots. Stippling has traditionally been favored over hatching in biological and medical illustration, since it is less likely than hatching to interfere visually with the structures being illustrated (the lines used in hatching can be mistaken for actual contours), and also since it allows the artist to vary the density of shading more subtly to depict curved or irregular surfaces.

Images produced by halftoning or dithering and computer printers operate on similar principles (varying the size and/or spacing of dots on paper), but do so via photographic or digital processes rather than manually. These newer techniques have made it possible to convert continuous-tone images into patterns suitable for printing, but artists may still choose stippling for its simplicity and handmade appearance. The Wall Street Journal features stippled portraits known as hedcuts in its pages, as part of its long-standing avoidance of photographs.

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