Transcript Thick and thin line technique

Thick and thin line technique
Imagine there is a spider on one of the
surfaces of the 3D object. If he crawls onto
another surface and you can still see him
then that line should be thin. If he crawls
onto the next surface and you can’t see him
then that line should be thick.
All external lines = THICK
Used for an edge where only one
surface can be seen
Most internal lines (but not always) = THIN
Used for an edge where both surfaces can
be seen
By applying different TONES
to a drawing you can make
the object look more three
dimensional
Using SHADING,
LINES AND DOTS the
closer you draw the
lines or dots together or
the harder you press the
darker the TONE is
Curved surfaces, the amount of light
reflected gets less as the surface turns
away from the light source and therefore
the tone you use needs to be darker. A
HIGHLIGHT should be used, a white area,
that is closest to the light source
You can use SHADOWS on
drawings to increase the
feeling of depth and to
suggest the object is resting
on a surface. A shadow will
be an elongated shape of
the object, it will be on the
side furthest away from the
light source and will be
darker than the darkest tone
on the object.
TONE = the various shades that can be
produced from one different colour
SHADING = a technique used to show how
light falls on an object
HIGHLIGHT = a bright area where light is
reflected from the edge or surface of an
object
SHADOW = a dark area formed when an
object is in the way of rays of light
WOOD – drawing curved lines on the end to
represent growth rings and straight lines on
the sides to represent the grain. Use a
combination of brown, yellow and orange
MATT METAL - a series of
straight lines can create a hard
effect, altering the distance
between the lines gives lighter
and darker tones.
CHROME METAL –
reflections appear as
high contrast areas of
dark and light
TEXTURED PLASTIC –
represented by drawing
small, irregular shapes
over the required area.
CONCRETE –
represented by a
series of dots and
small irregular
shapes
SHINY PLASTIC – draw a
number of short parallel
lines across the surface or
shade the surface evenly
and rub out wavy lines
GLASS AND CLEAR
PLASTIC – shade the
suface using a light blue
pencil and then rub out
areas to suggest
reflections. Feint broken
lines can be used to show
details that can be seen
through the glass or plastic.
RENDERING
COLOUR WHEEL
PRIMARY COLOURS
SECONDARY COLOURS
TERTIARY COLOURS
There are 6 tertiary colours which are made by
mixing a primary and a secondary colour
together.
Yellow-orange
Red-orange
Red-violet
Blue-violet
Blue-green
Yellow-green
CONTRASTING COLOURS

These are colours that are opposite each
other on the colour wheel. Opposite
colours create the maximum contrast with
each other.
HARMONIOUS COLOURS

These are colours which sit next to each
other on the colour wheel. These colours
are in harmony with each other.
Tasks
1. Check yourself exam question page 107
2. Check yourself exam question page 134
3. Further practice at rendering and enhancement
techniques