More online exhibitions
Jim Dine: The Glyptotek Drawings Online Exhibition | Thaw Conservation Center
Jim Dine: Drawing with Light
Building up the Layers
Detail of Dine's fingerprints in the manipulated charcoal of Glyptotek Drawing .
Detail of Glyptotek Drawing  showing texture from directly applied charcoal on the left, in contrast to the manipulated tonal area on the right.
Glyptotek Drawing 
Dine began each drawing with charcoal or lithographic crayon, which he manipulated with his fingers (figure 2) and a kneaded eraser to create subtle gradations. On paper and frosted plastic supports, Dine used vine and compressed charcoal as his initial drawing material. However, when he worked on a clear plastic support, Dine required a stickier drawing material that would adhere to the very smooth surface and still allow for later manipulation. For this, Dine chose to use soft lithographic crayons. In several drawings Dine created passages of charcoal that have the appearance of a liquid. He achieved this effect by applying a layer of spray fixative and using his finger to manipulate the charcoal before the fixative dried. To create large areas of smudged charcoal, Dine first applied the charcoal over the area and then manipulated it to create a continuous tone. Evidence of this working method is visible in the lower left corner of Glyptotek Drawing , where the texture from the directly applied charcoal can be seen in contrast to the manipulated tonal area (figure 3).
Detail of the negative rough pattern in Glyptotek Drawing .
The wire mesh Dine used to manipulate the media is seen in positive and negative in this detail of Glyptotek Drawing .
Detail of shoe print in Glyptotek Drawing .
In Glyptotek Drawing , the rough pattern appears in both positive, when Dine applied the charcoal and pastel, and in negative, when Dine subtracted the media (figure 7). This suggests that the drawing was worked from start to finish on the same surface in one drawing session. In other drawings there are either two patterns, or only sections of the drawing that feature a pattern, thus demonstrating that Dine changed the white paper below the drawing, possibly over several drawing sessions.
Other patterns seen in some of these drawings do not come from below the supports, but from applied patterned surfaces. In Glyptotek Drawing , a diamond pattern resembling a wire mesh can be seen in both positive and negative (figure 8). Dine used the mesh in this drawing to apply media, remove media, and manipulate it. In other drawings, the patterns were not entirely intentional. In Glyptotek Drawings  and , there is a second type of diamond pattern, which Dine confirmed is a shoe print (figure 9) and assumed he must have stepped on these drawings.ii Even though this pattern was unintentional, the print was left on the drawing and transferred to the printing plate. These shoe prints, along with fingerprints, smudges, tears, hairs, and drips from liquid media and heavily applied fixative, reveal Dine's working methods and become part of the history of the Glyptotek Drawings, and ultimately are transferred to the prints.