Transcript Slide 1

Introduction to Drawing I
General Course Objectives
The ultimate goal of this course is for you to develop a better sense of how to
critically analyze light, form, and space through a disciplined drawing process.
You will begin by becoming more comfortable with the drawing process, which
involves looking closely at an object and transferring what you see onto the page.
The intention is to develop a level of confidence that will allow you to look more at
the subject and less at the paper. This will involve several exercises in contour line
drawing and proportion. These initial works will be done exclusively in line.
As the term progresses, your drawing vocabulary will be expanded to include the
use of linear perspective, modeling, line weight, and other methods of mark making
that will become essential in the analysis of forms in space.
By the end of this course, you will have developed a disciplined approach toward
drawing. This will include a working knowledge of perspective, an understanding of
the relationship between line/value and mass/space, and an awareness of the roles
that composition and mark making play in creating an image.
The following presentation will introduce you to all of the projects that you will
complete this term.
Kevin Grass
© 2011
Proportion Drawings
Accurate control of proportions is the
most important aspect of any academic
drawing. In order to facilitate accuracy it
is essential to build drawings of subjects
beginning with basic geometric
abstractions of their forms, working from
large shapes toward smaller shapes as
the drawing progresses. Once the largest
aspects of the subject are determined to
be correct it is much easier to accurately
render secondary forms and details
within the drawing.
Phyllis Giles
Graphite pencil on paper.
18” x 24’
The drawings for this assignment will be
flat, profile line renderings of the
subjects, completed without the need to
address perspective or shading. This will
allow all of your attention to be devoted
to the accurate development of
proportions, control of line, and line
weight. Most of the drawings that you
complete this semester will start out as a
series of flat proportion drawings.
Objectives for the assignment
1.
2.
3.
4.
5.
Building drawings of subjects using basic geometric shapes.
Accurate measurement and recording of proportional relationships.
Control and uses of line weight.
Drawing consistent straight and curved lines using freehand techniques.
Designing drawings for the page.
Kevin Grass
© 2011
Contour Line Drawings
Most students do not look closely enough at the
subjects they are drawing. They instead settle for
creating works that are based more upon their
expectations than upon direct, objective observation.
Developing the ability to closely observe and record
visual information in a drawing will expand your
drawing vocabulary, giving you more options when
you are rendering a subject.
The drawings for this assignment will be completed
exclusively with line, allowing all attention to be
devoted to the accurate development of details and
control of line and line weight. Pencils will remain in
contact with the paper at all times to facilitate the
development of a continuous contour line drawing,
and information will be deemed permanent once it is
addressed -- without erasing.
Objectives for this assignment
1. Accurate, objective development of details using
line, including outlines, textures, changes in color
and plane, etc.
2. Control of line and line weight.
3. Developing stronger hand-eye coordination.
4. Suggestion of form, space, and light without
shading.
Cameron Miller
Graphite pencil on paper.
24” x18”
Kevin Grass
© 2011
Isometric Perspective Drawing
Once you are able to complete accurate
proportion drawings of various subjects it is
time to learn how to make the subjects look
three-dimensional. Isometric perspective is
a system for rendering solids that combines
the three primary views (front, top, and
side) to create the illusion of form. This
system does not employ the use of
vanishing points, so the proportional
relationships that exist within the subject
are not distorted in the drawing. Isometric
perspective is a great system to use when
drawing single subjects, and it is especially
common in technical drawings.
Objectives for the assignment
1. Accurate, objective development of a
subject using isometric perspective.
2. Maintaining consistent angles throughout
the drawing.
3. Maintaining consistent, accurate
proportions throughout the drawing.
4. Clear development of all planes
5. Control and use of line and line weight.
6. Creating straight, sharp lines using
freehand techniques.
7. Designing the drawing for the page.
James Haskin
Graphite pencil on paper.
24” x 18”
Kevin Grass
© 2011
One-Point Perspective Blocks
While isometric drawing works well for single subjects, it is
not as effective for rendering still lifes consisting of several
objects, large subjects, or deep spaces. The changes in size
that occur within the various systems of linear perspective
are much more appropriate for such subjects.
The most basic system of linear perspective is one-point
perspective. This system is employed when the subject is
faced directly from one side, making it possible to render all
of the planes that face toward the viewer as flat shapes.
This system is commonly used in Renaissance drawings
and paintings, with one of the best examples illustrated in
Raphael’s fresco, The School of Athens.
Objectives for the assignment
April Hartley
Graphite pencil on paper.
24” x18”
1. Locate the horizon line and vanishing point in real space.
2. Locate the horizon line and vanishing point on the page so
that the relationship between it and the still life is the same
in the drawing as it is in real space.
3. Plan the image for the page so that the vanishing point can
fit on the paper, but so that the still life is not too small.
4. Utilize string as an aid for developing all orthogonal lines.
5. Consistently apply the rules for one-point perspective
throughout the drawing.
6. Apply systems for measuring in perspective to the drawing
of the still life.
7. Keep proportional and scale relationships consistent
throughout the drawing.
8. Address atmospheric perspective with changes in line
weight.
Kevin Grass
© 2011
Two-Point Perspective Blocks
Using 1-point perspective is an effective method for
rendering objects in space, but the illusion that it produces
is somewhat limited because the front planes of all of the
objects are drawn as flat shapes, parallel to the picture
plane. For a more convincing illusion of forms in space, it is
better to face the subjects from a corner so that all planes
are distorted. This requires the use of two vanishing points
-- one located to the left of the subject and one located to
the right. This system is commonly used in Photorealism
and architectural renderings.
Objectives for the assignment
James Haskin
Graphite pencil on paper.
24” x18”
1. Utilize either a perspective grid (developed by the
student) or employ the use of a long, thin wooden stick to
locate the vanishing points outside the picture plane. If
the latter method is used, a long string can be attached
to the vanishing points for development of all orthogonal
lines.
2. Make the drawing large enough so that it fills the page.
3. Consistently apply the rules for two-point perspective
4. throughout the drawing.
5. Keep all vertical lines parallel to one another.
6. Apply systems for measuring in perspective to the
drawing of the still life.
7. Keep proportional and scale relationships consistent
throughout the drawing.
8. Address atmospheric perspective with changes in line
weight.
Kevin Grass
© 2011
Linear Perspective Space
When learning the rules of linear
perspective, it is easiest to use simple
subjects like blocks. More complex,
interesting subjects, however, are
generally preferred by professional artists,
their clients, and most art students. The
systems of linear perspective are great
tools for creating a clear, unified illusion of
space and form within the most complex
of subjects.
April Hartley
Graphite pencil on paper.
18”x 24”
A thorough understanding of perspective
is especially important for architects,
illustrators, computer animators, and fine
artists that deal with realism. A good place
to see the application of linear perspective
to complex subjects is science fiction
illustration.
Objectives for the assignment
1. Locate the horizon line and vanishing point in real space.
2. Locate the horizon line and vanishing point on the page so that the
relationship between it and the subject is the same in the drawing as it is in
real space.
3. Plan the image for the page.
4. Utilize string as an aid for developing all orthogonal lines.
5. Consistently apply the rules for linear perspective throughout the drawing.
6. Apply systems for measuring in perspective to the drawing of the space.
7. Keep proportional and scale relationships consistent throughout the drawing.
8. Accurately and clearly define all planes within each part of the subject/space.
9. Address atmospheric perspective with changes in line weight.
Kevin Grass
© 2011
Volumetric Form Drawing
Shading for volumetric form is a system for rendering
spheres, cylinders, and cones. In this system, values
are based upon their position in relation to the viewer -the closer the part of the object is, the lighter it will be;
the further away it is, the darker it will be. Thus, a
sphere would be lightest in the center of the circle,
becoming gradually darker as it approaches the edges
of the shape. This system for developing values is
commonly used by illustrators, computer animators,
gaming designers, and fine artists that work primarily
from invention.
Objectives for the assignment
1. Design/arrange your own still life, consisting of
several different geometric forms.
2. Use thumbnails to design the drawing.
3. Use the appropriate grade of graphite pencil to
develop values.
4. Maintain sharp definition of the forms throughout the
drawing.
5. Develop gradual changes in value to depict rounded
forms.
6. Use kneaded erasers as drawing tools to aid in the
development of gradations.
April Hartley
Graphite pencil on paper.
24” x 18”
Kevin Grass
© 2011
Planar Form Drawing
The best system to use for shading blocky
subjects is called shading for planar form. In this
system, values change every time the object
changes direction. Top planes are always lightest,
right-facing planes are similar in value, and leftfacing planes are similar in value. Either the leftfacing or right-facing planes may be the darkest,
as long as the values are addressed consistently
throughout the drawing.
Objectives for the assignment
Jason Lashley.
Graphite pencil on paper.
18” x 24”.
1. Render a complex arrangement of blocks or a
single complex form using isometric, 1-point,
or 2-point perspective.
2. Pre-determine the values in a small drawing of
a cube and apply the system consistently
throughout the drawing of the complex subject
or still life.
3. Develop gradations within the planes to
enhance the illusion of weight and form.
4. Use the appropriate grade of graphite pencil to
develop values.
5. Maintain sharp definition of the forms
throughout the drawing.
6. Vary the edges of the plane breaks to reflect
their character (sharp, soft, rounded, etc.).
7. Use kneaded erasers as drawing tools to aid in
the development of gradations.
Kevin Grass
© 2011
Two-Value Drawing
This drawing is a high contrast interpretation of a still
life. There will be no grays, nor will values be created
by hatching, cross-hatching, or stippling . Only black or
white shapes can be used for the drawing. Edges will
disappear when black shapes meet one another. Black
lines may be used to outline white shapes when they
appear against a white background, and black lines
may be used for thin shadows.
Objectives for the assignment
1. Carefully arrange a still life composed of several
subjects.
2. Illuminate the still life with an artificial light source
to create distinct light and dark areas within the
subjects.
3. Create clear, consistent suggestions of light and
form using flat shapes.
4. Determine whether shapes will be black or white
based upon their relationship to the light source.
5. Carefully render the shapes of the shadows within
the subjects, on the ground plane, and on the wall.
6. Clearly illustrate how changes in forms affect
changes in shadow shapes.
April Hartley, black ink on paper, 24” x 18”
Kevin Grass
© 2011
Objectives for the assignment
April Hartley
Charcoal on paper.
24” x 18”
1. Illuminate the still life with an artificial light source to
create distinct light and dark areas within the subjects.
2. Sharpen charcoal pencils using an X-Acto knife and
sandpaper.
3. Begin with a two-value block-in of the entire still life
before addressing a full range of values.
4. Learn how to manipulate charcoal, with or without
blending stumps and a chamois cloth, to develop
gradations within the drawing.
5. Clearly address all conditions of light (highlight, halftone,
core shadow, reflected light, cast shadow).
6. Carefully analyze and compare the values in the still life
to those in the drawing, adjusting the latter as needed.
7. Carefully analyze and compare your drawing to
examples provided in the Introduction and Student
Examples presentations for this assignment.
8. Analyze value relationships by comparing them to
adjacent values.
9. Develop values on the ground plane and in the
background to enhance the illusion of light and space.
10. Create a well-unified, solid sense of light and form.
11. Maintain a consistent drawing style throughout the piece.
Shading Simple Geometric Forms - In this assignment you will render a still life composed of simple geometric
forms for light and shadow, paying close attention to the development of the various conditions of light and by
controlling gradations and edges to produce the illusion of blocky or rounded form. By working with these simple
forms, you will begin to build the skills needed for dealing with more complex subjects in the following assignments.
This project will also introduce you to charcoal. Charcoal is a more useful medium for shading because it is capable
of a wide range of values, including rich darks, and gradations are more quickly manipulated than with graphite.
Kevin Grass
© 2011
Toned Paper Drawing
The subjects for this drawing will be utilitarian objects more
similar to items that you might see in a traditional still life
drawing or painting. Because these objects are man-made
they can be more easily understood in terms of simple
geometric form than organic objects or drapery.
Understanding these complex subjects in simpler, more
familiar terms will make it easier to develop values for light
and form.
This project will also introduce you to toned paper.
Gradations are easier to control and texture is less
distracting on toned paper than on white paper because the
charcoal is drawn upon a darker ground.
Objectives for the assignment
Kevin Grass, charcoal and white chalk on toned paper, 18” x 24”.
1. Learn how to manipulate black charcoal and white charcoal
on toned paper, with or without blending stumps and a
chamois cloth, to develop gradations within the drawing.
2. Carefully analyze subjects in terms of simple geometric forms
so that lighting will be easier to develop.
3. Include information that demonstrates how the subjects differ
from simple geometric forms.
4. Clearly address all conditions of light (highlight, halftone, core
shadow, reflected light, cast shadow).
5. Carefully analyze and compare the values in the still life to
those in the drawing, adjusting the latter as needed.
6. Analyze value relationships by comparing them to adjacent
values.
7. Develop values on the ground plane and in the background to
enhance the illusion of light and space.
Kevin Grass
© 2011
Simple Organic Forms
In addition to simple bowls and vases,
traditional still lifes usually include
simple organic forms, such as fruits,
vegetables, shells, etc. Simple organic
forms still bear a strong resemblance to
geometric forms, so a successful
rendering is determined by the
understanding of simpler forms and how
their lighting can be applied to the more
complex subjects. It is also important to
include the textural information that is
integral to the subjects, but without
taking attention away from the larger
forms.
Peter Schaeffer
Black and white charcoal on toned paper.
18” x 24”.
The still life for this assignment will be
composed of simple bowls, vases, and
several simple organic forms.
Objectives for the assignment
1. Carefully analyze subjects in terms of simple geometric forms so that lighting will be easier to develop,
possibly by completing a small study in which the subjects are simplified.
2. Begin with a two-value block-in of the entire still life before addressing a full range of value.
3. Exaggerate variations within organic forms to call attention to their distinguishing characteristics.
4. Subtly address textural information without flattening the illusion of light and form.
5. Clearly address all conditions of light (highlight, halftone, core shadow, reflected light, cast shadow).
Kevin Grass
© 2011
Drapery Study
Whether it is used as a unifying element within a still life
or an outfit in a portrait or figure study, drapery is one of
the most commonly rendered subjects in drawing,
painting, or illustration. It is also one of the most difficult
because the forms are relatively unpredictable and one
still life is never exactly like another. Like organic forms,
drapery can be simplified into a series of simpler
geometric forms, making it easier to understand value
development within the drawing.
The still life for this assignment will be composed of a
vase wrapped with drapery.
Objectives for the assignment
Alejandro Salamanca
Black and white charcoal
on toned paper.
24” x 18”
1. Carefully integrate drapery into a composition.
2. Carefully analyze subjects in terms of simple
geometric forms so that lighting will be easier to
develop, possibly by completing a small study in
which the subjects are simplified.
3. Begin with a two-value block-in of the entire still life
before addressing a full range of value.
4. Eliminate unnecessary textural information in order
to strengthen the illusion of form.
5. Carefully analyze the quality of edges to clarify light
and form.
6. Clearly address all conditions of light (highlight,
halftone, core shadow, reflected light, cast shadow).
Kevin Grass
© 2011
Pen-and-Ink Drawing
Pen-and-ink is a popular medium for artists. It
requires no sharpening, it is self-contained
(especially the new mechanical pens), it does not
smear when it dries, and it is capable of a broad
range of values. These characteristics make it a
great medium for sketchbooks. Many illustrators
prefer the medium because the higher contrast
allows for better reproductions in newspapers and
magazines, and the more linear character of the
medium can create sharper, more exact renderings
of form for technical or anatomical drawings.
Its permanence can be a drawback for beginning art
students because mistakes cannot be erased. It is
also not conducive to subtle gradations, which leads
to frustration for some art students that want to
develop highly polished drawings.
Objectives for the assignment
Tiffanie Brundage, ink on paper, 9” x 12”
1. Develop gradations with pen-and-ink using hatching
and cross-hatching.
2. Develop a wide range of values with the pen-andink.
3. Use stippling techniques to create more subtle
halftone areas.
4. Control the weight and character of marks by
changing the angle of the pen and by using nibs of
varying thickness.
5. Clearly address all conditions of light (highlight,
halftone, core shadow, reflected light, cast shadow).
Kevin Grass
© 2011
Objectives for the assignment
Kevin Grass, charcoal and white chalk on toned paper, 18” x 24”
1. Carefully analyze subject in terms of
simple geometric forms so that lighting
will be easier to develop, possibly by
completing a small study in which the
subjects are simplified.
2. Begin with a two-value block-in of the
entire subject before addressing a full
range of value.
3. Exaggerate variations within the subject
to call attention to its distinguishing
characteristics.
4. Subtly address textural information
without flattening the illusion of light and
form.
5. Clearly address all conditions of light
(highlight, halftone, core shadow,
reflected light, cast shadow).
Complex Organic Form - Drawing simple man-made forms can be challenging and rewarding, but most professional
artists work with more complex organic subject matter. These subjects can range from simple fruits and vegetables to
more complex objects like skulls, figures, and landscapes. This is especially true of illustrators, animators, and fine
artists that work with full figures, portraits, or landscapes. Inability to render complex organic forms will severely limit
your marketability, making it extremely difficult to make a living as either a commercial or fine artist.
The still life for this assignment will be composed of a single complex organic form. Because it will bear little
resemblance to geometric forms, it will be necessary to complete a small, simplified drawing of the subject to make it
easier to understand what will be needed in terms of value development.
Kevin Grass
© 2011
Portrait Drawing
Portraiture is the main staple for a large number of artists.
Fine and commercial artists usually need to include
images of people in commissioned works because most
artwork is based upon human actions or experiences. As
with organic forms, the inability to competently render
portraits will severely limit your marketability, making it
extremely difficult to make a living as either a commercial
or fine artist.
For this drawing you will complete a drawing of yourself, a
friend, or family member.
Objectives for the assignment
Kathy Wilson
Black and white charcoal on toned paper.
24” x 18”
1. Carefully analyze subject in terms of simple geometric
forms so that lighting will be easier to develop, possibly
by completing a small study in which the subjects are
simplified.
2. Begin with a two-value block-in of the entire subject
before addressing a full range of value.
3. Exaggerate variations within the subject to call attention
to its distinguishing characteristics.
4. Pay very close attention to proportional relationships to
facilitate a good likeness of the model.
5. Subtly address textural information without flattening the
illusion of light and form.
6. Clearly address all conditions of light (highlight, halftone,
core shadow, reflected light, cast shadow).
Kevin Grass
© 2011
Multi-Colored Subjects (optional)
In professional still life drawings, artists render objects
that vary in color, sometimes with patterns of different
colors within a single subject. When variations in color
are taken into account it is important to reinforce lighting
so that the illusion of light and form remains strong
within the drawing.
The still life for this assignment will be composed of
multi-colored subjects. It is essential to use a strong
light source so that the value structure for light and
shadow is still clearly discernible within the subjects.
Objectives for the assignment
1. Begin with a block-in of the subjects addressing their
local values, using flat, uniform values within each
shape.
2. Subtly address variations in local values without
flattening the illusion of light and form.
3. Clearly address all conditions of light (highlight,
halftone, core shadow, reflected light, cast shadow).
Kevin Grass, charcoal and white chalk on toned paper, 18” x 24”.
Kevin Grass
© 2011
Still Life with Glass Objects (optional)
Objectives: In professional still life drawings,
artists render objects with a variety of surfaces,
including highly reflective objects made from metal
or glass. Patterns tend to be very sharp and distinct
in such subjects, so there is often a tendency in
student drawings for glass and metal to look flat
and fragmented. It is important when drawing
highly reflective subjects to enhance lighting and
exaggerate variation in edges to maintain a strong
illusion of light and form.
The still life for this assignment will include at least
one glass subject. It is essential to use a strong
light source so that the value structure for light and
shadow is still clearly discernible within the
subjects.
Objectives for the assignment
Kevin Grass, charcoal and white chalk on toned paper, 18” x 24”.
1. Begin with a block-in of the subjects, addressing
the strong patterns within the reflective surfaces
using two values.
2. Subtly address variations in shape and value
within the reflective surfaces without flattening
the illusion of light and form.
3. Clearly address all conditions of light (highlight,
halftone, core shadow, reflected light, cast
shadow).
Kevin Grass
© 2011
Black Paper Drawing (optional)
The still life for this assignment will be placed in
front of a dark or black background and illuminated
by an intense light source. White charcoal will be
used on black paper to complete the drawing. The
key to success in this assignment is to work
completely in reverse of a typical drawing on light
paper with black charcoal.
Objectives for the assignment
1. Begin with a two-value block-in of the
subjects using white charcoal.
2. Use erasers to develop darks within the
drawing.
3. Clearly address all conditions of light using
the white charcoal on black paper (highlight,
halftone, core shadow, reflected light, cast
shadow).
Kevin Grass, white chalk on black paper, 18” x 24”.
Kevin Grass
© 2011