Basics of drawing
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The document discusses different types of lines used in drawing, including straight lines, angled lines, and curved lines. It also covers techniques for shading such as using graphite pencils of varying hardness and blending to create values and form. Specific methods are presented for hatching, a technique using sets of lines to represent values, and perspective, which makes objects appear smaller as they recede into the distance.
Basics of drawing
- 2. WHAT IS A LINE? • LINES VISUALLY SEPARATE AND/OR DEFINE THE FORMS, SHAPES, AND PATTERNS OF THE VARIOUS COMPONENTS OF A DRAWING. • THE THREE FAMILIES OF LINES, STRAIGHT, ANGLE, AND CURVED, WHICH ARE THE BASIC BUILDING BLOCKS OF DRAWING. 4/17/20PROF SG.BABU
- 3. ANGLE LINES ANGLE LINES OCCUR WHEN TWO STRAIGHT LINES MEET (OR JOIN TOGETHER), AND ARE USED TO DRAW VARIOUS STRAIGHT-SIDED SHAPES, SUCH AS SQUARES, RECTANGLES, AND TRIANGLES. 4/17/20PROF SG.BABU
- 4. CURVED LINES CURVED LINES ARE FORMED WHEN A STRAIGHT LINE CURVES OR BENDS. 4/17/20PROF SG.BABU
- 5. EXPLORE YOUR IDEAS • STRAIGHT LINES • ANGLED LINES • CURVED LINES • COMPLEXLINES( COMBINATIONOF LINES) 4/17/20PROF SG.BABU
- 6. WHAT IS SHADING? • SHADING (VERB) REFERS TO THE TECHNIQUE USED TO ACHIEVE A SMOOTH RENDERING OF GRAPHITE PENCIL EVENLY DISTRIBUTED OVER THE SURFACE OF THE PAGE OR SURFACE YOU ARE WORKING ON. 4/17/20PROF SG.BABU
- 7. HOW TO PREPARE YOUR PENCIL • SHARPEN AN HB PENCIL, EXPOSING AS MUCH GRAPHITE AS POSSIBLE WITHOUT IT BREAKING. • PLACE THE GRAPHITE SECTION OF YOUR PENCIL ALMOST FLAT ONTO A PIECE OF SMOOTH SANDPAPER. 4/17/20PROF SG.BABU
- 8. HOW TO PREPARE YOUR PENCIL • LIFT THE PENCIL ON A SLIGHT ANGLE JUST ENOUGH SO THAT THE WOOD PART DOESN’T SCRAPE ALONG THE SURFACE OF THE SANDPAPER. • GENTLY ROLL YOUR PENCIL ACROSS THE SANDPAPER, DRAGGING IT ALONG AS YOU GO. • AVOID FLAT EDGES BY ROLLING IT A FULL 360 DEGREES AS YOU DRAG. 4/17/20PROF SG.BABU
- 9. HOW TO HOLD YOUR PENCIL • HOLD AN HB PENCIL AS FLAT TO THE PAGE AS POSSIBLE WITHOUT ALLOWING THE WOOD PART TO TOUCH THE SURFACE. 4/17/20PROF SG.BABU
- 10. HOW TO HOLD YOUR PENCIL • AS YOU HOLD YOUR PENCIL AS FLAT TO THE PAGE AS POSSIBLE, GENTLY STROKE IT FROM SIDE TO SIDE.MAKE SURE YOU MOVE YOUR ENTIRE ARM. • BEGIN WITH MINIMAL PRESSURE AND GRADUALLY APPLY MORE PRESSURE TO CREATE DARKERAREAS. 4/17/20PROF SG.BABU
- 11. HOW DIFFERENT PAPERS AFFECT SHADING Rough Texture paper Smooth Texture paper
- 12. USING A COTTON BUD TO BLEND A SHADED AREA • USE SMALL CIRCULAR MOTIONS FOR SMALLER AREAS AND A COMBINATION OF LONG SWEEPING VERTICAL OR HORIZONTAL LINES AS WELL AS DIAGONALS OR CIRCULAR MOTIONS FOR LARGER AREAS 4/17/20PROF SG.BABU
- 13. VALUE SCALES WITH SHADING 4/17/20PROF SG.BABU
- 14. VALUE SCALES WITH SHADING • USING YOUR RULER AND HB PENCIL, DRAW A RECTANGLE 12CM LONG BY 2CM WIDE. • BEGIN SHADING THESE SQUARES BY USING HB PENCIL IN A CIRCULAR MOTION 4/17/20PROF SG.BABU
- 15. VALUE SCALES WITH SHADING • USING YOUR 2B PENCIL, PRESS A LITTLE FIRMER AND BEGIN IN BOX NUMBER 6 PROCEED UP TO BOX NUMBER 3 4/17/20PROF SG.BABU
- 16. VALUE SCALES WITH SHADING • USING YOUR 2B PENCIL AGAIN, PRESSING EVEN FIRMER, SHADE ALL THE BOXES, BEGINNING WITH NUMBER 6, UNTIL YOU COMPLETE BOX 4 4/17/20PROF SG.BABU
- 17. VALUE SCALES WITH SHADING • PRESS FIRMLY WITH YOUR 4B PENCIL, TO SHADE THE REMAINING TWO BOXES (6 AND 5) LEAVING 4 UNTOUCHED. 4/17/20PROF SG.BABU
- 18. VALUE SCALES WITH SHADING • USING YOUR 4B PENCIL, PRESSING QUITE FIRMLY, SHADE IN THE NUMBER 6 BOX. 4/17/20PROF SG.BABU
- 19. VARIOUS METHODS OF DRAWING CIRCLE 4/17/20PROF SG.BABU
- 20. VARIOUS METHODS OF DRAWING CIRCLE 4/17/20PROF SG.BABU
- 21. VARIOUS METHODS OF DRAWING CIRCLE 4/17/20PROF SG.BABU
- 22. SHADING OF FORMS DRAWING WITH ERASERS • USE YOUR DARKEST PENCIL TO SMOOTHLY SHADE IN THE ENTIRE AREA OF A DRAWING SURFACE. • WITH A PIECE OF PAPER OR COTTON, VERY GENTLY BLEND THE WHOLE SURFACE, UNTIL YOU HAVE A SOLID TONE. DON’T APPLY MORE PRESSURE WHILE BLENDING. 4/17/20PROF SG.BABU
- 23. SHADING OF FORMS DRAWING WITH ERASERS USE YOUR ERASERS HOWEVER YOU WISH TO EXPERIMENT WITH PULLING LIGHT VALUES FROM THE DARK DRAWING SURFACE. 4/17/20PROF SG.BABU
- 24. SHADING OF FORMS COMING OUT OF THE DARK • SHADE IN A SECTION OF YOUR DRAWING SPACE WITH YOUR STICK OF CHARCOAL. • USE A PIECE OF PAPER TO BLEND INTO SOLID TONE. 4/17/20PROF SG.BABU
- 25. SHADING OF FORMS COMING OUT OF THE DARK • ERASE, PAT, AND PULL OUT LIGHT AREAS UNTIL YOU CAN IDENTIFY A CIRCULAR SHAPE. • THE LIGHTER VALUES CLOSER TO THE LIGHT SOURCE, ARE NEAR THE TOP OF THE SPHERE. • THE TINY GLOW ON THE LOWER EDGE OF THE CIRCLE IS THE REFLECTED LIGHT. 4/17/20PROF SG.BABU
- 26. SHADING OF FORMS COMING OUT OF THE DARK • USE A SHARP EDGE OF YOUR VINYL ERASE TO “PULL OUT” THE WHITE AREA (THE HIGHLIGHT) IN THE UPPER AREA OF THE CIRCLE. • A HIGHLIGHT IS THE BRIGHTEST AREA OF AN OBJECT;; USUALLY, THE SECTION THAT IS CLOSEST TO THE LIGHT SOURCE. • SHADOWS ARE THE AREAS ON (OR ADJACENT TO) AN OBJECT THAT RECEIVE LITTLE OR NO LIGHT. • WITH YOUR CHARCOAL PENCIL DRAW AN OUTLINE AROUND YOUR SHAPE. 4/17/20PROF SG.BABU
- 27. SHADING OF FORMS COMING OUT OF THE DARK • USE YOUR CHARCOAL PENCIL TO ADD DARK SHADING TO THE SHADOW SECTIONS OF THE CIRCLE. • DRAW THE CAST SHADOW UNDERNEATH THE SPHERE. • A CAST SHADOW IS A DARK AREA ON A SURFACE, ADJACENT TO WHERE THE LIGHT IS BLOCKED BY AN OBJECT. • STEP BACK FROM YOUR DRAWING, HAVE A LOOK AT THE OVERALL VALUES, AND ADD FINAL TOUCHES TO THE SHADING, IF NEEDED 4/17/20PROF SG.BABU
- 28. WHAT IS HATCHING? • HATCHING IS A SERIES OF LINES (CALLED A SET) DRAWN CLOSELY TOGETHER TO GIVE THE ILLUSION OF VALUES. • CREATE VARIOUS GRADUATIONS BY PLACING THE LINES CLOSE AND FAR. 4/17/20PROF SG.BABU
- 29. GRADUATION IN HATCHING HATCHING IS A SERIES OF LINES (CALLED A SET) DRAWN CLOSELY TOGETHER TO GIVE THE ILLUSION OF VALUES. 4/17/20PROF SG.BABU
- 30. BASIC GRADUATION IN HATCHING • STEP – 1 • ON THE LEFT SIDE OF YOUR PAPER, PRESS VERY LIGHTLY WITH YOUR 2B PENCIL TO DRAW THE LIGHTEST LINES FAR APART AND FEW IN NUMBER. • AS APPROACHING MIDDLE PORTION DRAW MORE AND MORE HATCHING LINES CLOSER TOGETHER 4/17/20PROF SG.BABU
- 31. BASIC GRADUATION IN HATCHING • STEP – 2 • AS MOVING TOWARDS RIGHT MAKE LINES CLOSER. • CLOSER LINES SHOWS DARKER SHADES. LEAVE SPACE FOR THE PAPER BACKGROUND TO BE REVEALED. 4/17/20PROF SG.BABU
- 32. GRADUATION IN HATCHING • STEP – 1 • STEP – 2 4/17/20PROF SG.BABU
- 33. GRADUATION IN HATCHING • STEP – 4 • CHALLENGE STEP 4/17/20PROF SG.BABU
- 34. GRADUATION IN HATCHING • TRYTHIS 4/17/20PROF SG.BABU
- 35. GRADUATION IN HATCHING • EXERCISE 4/17/20PROF SG.BABU
- 36. GRADUATION IN HATCHING • ADD SHADING USING 2B PENCIL 2B lines far 4/17/20PROF SG.BABU
- 37. VARIOUS METHODS OF DRAWING ELLIPSE 4/17/20PROF SG.BABU
- 38. EXERCISE FOR DRAWING 4/17/20PROF SG.BABU
- 39. LIGHT ON A MUG LIGHTLY SKETCH AN OVAL (CALLED AN ELLIPSE) IN YOUR SKETCHBOOK PAGE WITH AN HB PENCIL. 4/17/20PROF SG.BABU
- 40. LIGHT ON A MUG • ADD THE SIDES OF THE MUG BY SKETCHING A STRAIGHT LINE DOWN FROM EACH END OF THE OVAL. • ADD A CURVED LINE ALONG THE BOTTOM. 4/17/20PROF SG.BABU
- 41. LIGHT ON A MUG • SKETCH THE TWO ENDS OF THE HANDLE. • SKETCH THE TWO BACKWARD C-SHAPES, WHICH COMPLETE THE HANDLE OF THE MUG. • USE FRESHLY SHARPENED PENCILS, AND NEAT, THIN LINES TO OUTLINE THE SHAPES OF THE MUG. 4/17/20PROF SG.BABU
- 42. LIGHT ON A MUG 4/17/20PROF SG.BABU
- 43. ADDING SHADING WITH HATCHING 4/17/20PROF SG.BABU
- 44. LIGHT ON A MUG 4/17/20PROF SG.BABU
- 45. EXERCISE FOR HATCHING 4/17/20PROF SG.BABU
- 46. EXERCISE FOR HATCHING 1. Eyebrow. 2. Upper eyelid crease. 3. The upper eyelid is a movable fold of skin that opens and closes to protect the eyeball. 4. The white of the eye (the visible section of the eyeball) is light, but not really white. 5. A highlight is the brightest area where light bounces off the surface of the eye. 6. The pupil of an eye is the darkest circular shape within the iris. 7. The irisis the colored circular section of the eyeball surrounding the pupil. 8. The lower eyelid is a fold of skin protecting the lower section of the eyeball 4/17/20PROF SG.BABU
- 47. EXERCISE FOR HATCHING 1. Use a ruler to draw a straight line down the center of your page (Line AB). 2. Choose two points along Line AB to be the total length of Boy’s head, and draw a horizontal line through each point. (Upper line = Top of head) (Lower line = Bottom of Chin) 3. Draw a horizontal straight line through the mid- point of the vertical line (CD) 4. Draw a horizontal straight line through the mid- point of previous half of the vertical line. (EF) 4/17/20PROF SG.BABU
- 48. EXERCISE FOR HATCHING 5. Sketch the basic outline of the bottom half of boy’s face with an HB pencil. 6. Lightly sketch the top and sides of the uppereyelids. 7. Draw a curved line to mark the opening of the mouth in between lines EF and GH. 8. Add a tiny dark section, on each end of his mouth to mark the corners. 9. Add a line under each eye to identify the location the edge of his lower eyelids. 10. Sketch another line under the opening of his mouth to mark the location of the bottom of his lower lip. 4/17/20PROF SG.BABU
- 49. EXERCISE FOR HATCHING 11. Lightly sketch two V-shapes with slightlycurvedlines. 12. Add the outline of his hair on each side ofhishead. 13. Use angle lines to sketch the positions of the top and bottom of each ofhisears. 4/17/20PROF SG.BABU
- 50. EXERCISE FOR HATCHING 14. Draw partial circles to identify the positions of the irises of his eyes. 15. Draw the eyebrows. 16. Draw a long thin triangular shape (the pupil) inside each iris. 17. Add two comma-shapes as the nostrils of the nose. 18. Lightly sketch the texture of the hair with curved lines. 4/17/20PROF SG.BABU
- 51. EXERCISE FOR HATCHING 4/17/20PROF SG.BABU
- 52. WHAT IS PERSPECTIVE? • PERSPECTIVE IS A METHOD OF REPRESENTING SUBJECTS (AND THE INDIVIDUAL PARTS OF SUBJECTS) IN A DRAWING, IN SUCH A WAY THAT THEY SEEM TO RECEDE INTO DISTANT SPACE, AND APPEAR SMALLER THE FARTHER THEY ARE AWAY FROM YOU. 4/17/20PROF SG.BABU
- 55. PERSPECTIVE On the horizonlinewithsectionsaboveand below 4/17/20PROF SG.BABU
- 56. PERSPECTIVE On the horizonlinewithsectionsaboveand below 4/17/20PROF SG.BABU
- 57. PERSPECTIVE On the horizonlinewithsectionsaboveand below 4/17/20PROF SG.BABU
- 58. PERSPECTIVE On the horizonlinewithsectionsaboveand below 4/17/20PROF SG.BABU
- 59. PERSPECTIVE Above the horizon line, and seem to be floating in the air. 4/17/20PROF SG.BABU
- 60. PERSPECTIVE Above the horizon line, and seem to be floating in the air. 4/17/20PROF SG.BABU
- 61. PERSPECTIVE Above the horizon line, and seem to be floating in the air. 4/17/20PROF SG.BABU
- 62. PERSPECTIVE Above the horizon line, and seem to be floating in the air. 4/17/20PROF SG.BABU
- 63. PERSPECTIVE Below the horizon line 4/17/20PROF SG.BABU
- 64. PERSPECTIVE Below the horizon line 4/17/20PROF SG.BABU
- 65. PERSPECTIVEBelow the horizon line 4/17/20PROF SG.BABU
- 66. PERSPECTIVE Below the horizon line Challenge 4/17/20PROF SG.BABU
- 67. PERSPECTIVE Drawing a Circle 4/17/20PROF SG.BABU
- 68. PERSPECTIVE Drawing a Circle 4/17/20PROF SG.BABU
- 69. PERSPECTIVE Drawing a precise circle 4/17/20PROF SG.BABU
- 70. PERSPECTIVE Drawing a Cylinder 4/17/20PROF SG.BABU
- 71. PERSPECTIVE Drawing a Cylinder 4/17/20PROF SG.BABU
- 72. WHAT IS CROSS HATCHING? CROSS HATCHING IS A SHADING TECHNIQUE THAT IS USED FOR DRAWING VARIOUS REALISTIC AND CREATIVE TEXTURES. 4/17/20PROF SG.BABU
- 73. WHAT IS VALUE? VALUES ARE THE DIFFERENT SHADES OF GRAY CREATED WHEN YOU DRAW BY VARYING THE DENSITY OF THE SHADING LINES, AND THE PRESSUREUSED IN HOLDING VARIOUSPENCILS. 4/17/20PROF SG.BABU
- 74. CREATING VALUE SCALES Ø RENDER A FULL RANGE OF TEN VALUES BY VARYING THE DENSITY OF THE LINES, THE PRESSURE USED IN HOLDING PENCILS, AND BY USING DIFFERENT GRADES OF PENCILS. Ø 2H LIGHTEST (HARDEST) Ø 6B DARKEST (SOFTEST) Ø 2B MIDDLE VALUES 4/17/20PROF SG.BABU
- 75. CREATING VALUE SCALES STEP -1 2 H Pencil With Varying Pressure HB Pencil With Varying Pressure and Density 4/17/20PROF SG.BABU
- 76. CREATING VALUE SCALES • STEP -2 HB Pencil With Varying Pressure and Density 4 B2 B 6B 4/17/20PROF SG.BABU
- 77. ØCREATE SOME CROSSHATCHING STYLES OF YOUR VERY OWN. ØRENDER VALUE SCALES WITH A FEW CREATIVE STYLES OF CROSSHATCHING.
- 81. WHAT IS VALUE MAP? • A VALUE MAP IS A PLAN (OR BLUEPRINT) FOR ADDING SHADING TO A DRAWING. THE LOCATIONS AND SIZES OF THE SHAPES OF VARIOUS VALUES ARE IDENTIFIED AND LIGHTLYOUTLINED. 4/17/20PROF SG.BABU
- 82. VALUE MAP • A VALUE MAP WORKS BY FIRST IDENTIFYING, EACH OF THE FOLLOWING: • HIGHLIGHTS TEND TO BE EASY TO FIND BECAUSE THEY ARE THE LIGHTEST AND BRIGHTEST SECTIONS. • LIGHT VALUES ARE CLOSEST TO THE LIGHT SOURCE, OFTEN ADJACENT TO OR SURROUNDING HIGHLIGHTS. • DARK VALUES ARE IN THE SHADOW SECTIONS OF THE SUBJECT AND/OR IN VARIOUS CAST SHADOWS. • MEDIUM VALUES TEND TO FALL IN BETWEEN THE LIGHT AND DARK VALUES. 4/17/20PROF SG.BABU
- 86. VALUE MAPPING SLEEVE RENDERING 4/17/20PROF SG.BABU
- 87. VALUE MAPPING SLEEVE RENDERING - BASICS 4/17/20PROF SG.BABU Ø Highlights reflect off surfaces close to the light source. Ø The transition of values from light to dark is compactedinto short distances. Ø Dark shadows and pronounced highlights are often very close together.
- 88. VALUE MAPPING SLEEVE RENDERING - BASICS 4/17/20PROF SG.BABU Ø Very Lightly Sketch outline of an arm bent at elbow Ø Use curved lines to indicate ribcage, breastand wait Ø Use 2H Pencils
- 89. SLEEVE RENDERING - BASICSVALUE MAPPING 4/17/20PROF SG.BABU HB Pencil
- 90. SLEEVE RENDERING - BASICSVALUE MAPPING 4/17/20PROF SG.BABU
- 91. SLEEVE RENDERING - BASICSVALUE MAPPING 4/17/20PROF SG.BABU
- 92. SLEEVE RENDERING - BASICSVALUE MAPPING 4/17/20PROF SG.BABU
- 93. SLEEVE RENDERING - BASICSVALUE MAPPING 4/17/20PROF SG.BABU Final Output
- 94. WHAT IS CONTOUR HATCHING? • CONTOUR HATCHING IS A SERIES OF CURVED LINES (CALLED A SET) DRAWN CLOSELY TOGETHER TO GIVE THE ILLUSION OF VALUES. 4/17/20PROF SG.BABU
- 95. WHY CONTOUR HATCHING IS NEEDED? TO GIVE 3D EFFECT. 4/17/20PROF SG.BABU
- 96. BASICS OF CONTOUR HATCHING 4/17/20PROF SG.BABU
- 97. CONTOUR HATCHING Draw the form Map the directions of hatching lines Use curved hatching lines & shade Shade More Darken the perimeter with 2B pencil Touch up with HB & 2B 4/17/20PROF SG.BABU
- 98. WHAT IS SQUIRKLING? • SQUIRKLING IS A METHOD OF SHADING INCORPORATING RANDOMLY DRAWN CURVED LINES TO CREATE TEXTURED VALUES. 4/17/20PROF SG.BABU
- 101. OUT DOOR SKETCHING • SKETCH PROPORTIONS: SKETCHING THE OVERALL COMPOSITION OF THE SCENE PROPORTIONATELY CORRECT • OUTLINE SHAPES: OUTLINING THE SHAPES OF IMPORTANT OBJECTS IN THE SCENE • DEFINE VALUES: ADDING SIMPLE HATCHING LINES TO SHADE IN THE VALUES 4/17/20PROF SG.BABU
- 103. WHAT IS A STILL-LIFE? • A STILL-LIFE IS AN ARRANGEMENT OF INANIMATE ITEMS (ITEMS THAT ARE NOT ALIVE) • A STILL-LIFE IS ARRANGED FOR THE PURPOSE OF CREATING ART 4/17/20PROF SG.BABU
- 104. VAN GOGH’SSHOES VINCENT VAN GOGH CREATED THIS STILL- LIFE OF HIS SHOES. WHAT MAKES THE SHOES INTERESTING AS A PIECE OF ART? WHAT MIGHT WE NEED TO THINK ABOUT IF WE CREATED OUR OWN STILL-LIFE? 4/17/20PROF SG.BABU
- 105. YOUR PROJECT FOR TODAY • WITH YOUR GROUP MATES, CAREFULLY GO THROUGH THE COOL ITEMS MS. STEPHENSON BROUGHT TO CLASS (OR USE SOME OF YOUR OWN!) • CHOOSE 4-5 OBJECTS FOR YOUR TABLE • ARRANGE THE ITEMS IN AN INTERESTING WAY • DRAW THEM ON YOUR PAPER USING ANY TECHNIQUE WE’VE USED IN CLASS SO FAR (CONTOUR LINE, VARYING QUALITY OF LINE, VALUE – HATCH, CROSSHATCH, SCUMBLE, STIPPLE) • MAKE YOUR DRAWING LOOK INTERESTING 4/17/20PROF SG.BABU
- 106. TO FINISH YOUR PROJECT • FILL IN THE BACKGROUND WITH A PATTERN • YOU MAY KEEP YOUR PIECE BLACK AND WHITE, OR ADD COLOR WITH COLORED PENCILS • YOU MAY ALSO CHOOSE TO GO OVER YOUR LINES WITH SHARPIE (IT’S YOUR DECISION) • THIS PROJECT IS DUE TODAY AT THE END OF CLASS • KEEP YOUR DRAWING NEAT, INTERESTING, AND MOST OF ALL – HAVE FUN! 4/17/20PROF SG.BABU