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Incepatori b deprindeti-va sa vedeti

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Incepatori b deprindeti-va sa vedeti

1. 1. Brenda HoddinottWhen you can identify positive and negative spaces inside a drawing space, you can drawB-01 BEGINNER: LEARN TO SEEwhat you see more accurately. This article illustrates the process of drawing objects byidentifying and drawing three different types of spaces.This project is divided into the following three sections:  THE SIMPLE TRUTH IN BLACK AND WHITE: Before you can draw an object, you need to be able to identify its edges. When you can see the object’s edges, you can train your eyes to see the space it occupies as a shape.  SEEING SPACES IN A REAL WORLD VIEW: You can’t always define negative spaces (NS) and positive spaces (PS) in terms of simple black and white. You often need to identify several layers of spaces to draw a subject accurately.  CHALLENGE: Your challenge is to draw the shape of a simple object from life by outlining only the negative space.Suggested drawing supplies include drawing paper, graphite pencils, and a viewfinderframe. This project is recommended for artists from age 10 to adult, as well as students of home schooling, academic, and recreational fine art educators. 5 PAGES – 12 ILLUSTRATIONS Published by Drawspace.com, Halifax, NS, Canada – 2006 (Revised 2009)
2. 2. -2- ART SPEAK Positive space (PS) is the space in a drawing that is occupied by an object. Negative space (NS) is the background around an object. Overlapping refers to a technique for creating the illusion of depth by drawing a subject so it visually appears to be in front of another (or others). Drawing space (also called a drawing surface or a drawing format) is the area in which you render a drawing within a specific perimeter. It can be the shape of the paper or outlined by any shape you draw, such as a square, rectangle, or circle. A drawing space can be separated into foreground, middle ground, and background by overlapping (or layering) objects in front of one another. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Proportion refers to the relationship in size of one part of a drawing to another or others.Before you can draw an object, you need to be able to identify its edges. When you can seeTHE SIMPLE TRUTH IN BLACK AND WHITEthe object’s edges, you can train your eyes to see the space it occupies as a shape.A single object contained inside a drawing space is the PS. By the simple process ofelimination, the remaining space is NS.1) Examine the duck-shaped Figure 101 Figure 102 The duck is the PS and the white candle in Figure 101. background is the NS.2) Squint your eyes until you can With a little magic in Photoshop, see the duck as a shape. the PS becomes a simple black shape (Figure 102). You are no doubt familiar with drawing an object by drawing around the edges of its shape. Figure 103 Figure 1043) Examine Figure 101 again and With another little tweak, the NS try to see the shape of the NS. becomes a black shape (Figure 103). As you can see, you can also draw an outline of the duck (Figure 104) by drawing only the edges of the negative space.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
3. 3. -3-Ah, yes! But, if seeing positive and negative spaces was really this easy, this lesson would beover. But it’s not! When was the last time you examined an object that was completelysurrounded by clean white space - an object with absolutely nothing behind it?You can’t always define negative spaces (NS) and positive spaces (PS) in terms of simpleSEEING SPACES IN A REAL WORLD VIEWblack and white. You often need to identify several layers of spaces to draw a subjectaccurately.To further confuse, spaces can change their identities; apositive space can become a negative space and vice versa. In Figure 105this exercise I show you how to draw with three layers ofspaces (instead of only two).1) Examine my original photo of a duck-shaped candle The duck (foreground) is in front of (or on top of) the in Figure 105. table (middle ground). Both the duck and table are in front of the sections of a blue pillow and brown wall in the background. In other words, the duck overlaps the table and the table overlaps the background. Therefore (for now) the shape of the table and duck combined becomes a PS and Figure 106 the background is NS. As an aside, many drawings are rendered by working from the background toward the foreground.2) Outline a rectangular drawing space that is Use a ruler and any pencil you prefer. approximately 2 by 2.4 inches (Figure 106). In Figure 106, the background (behind the edge of the3) Examine the shape of the negative space. table) is the NS. Compare its shape to the shape of the NS (shown as a light gray value) in Figure 107. Figure 107 You can clearly see the shape of the wick of the duck- shaped candle in the NS. Obviously, the wick overlaps the background, hiding this tiny section of the background from view. Keep in mind that the NS is already outlined by the4) Outline the shape of the NS (Figure 108). drawing space on the top and sides. Therefore, you only need to outline the lower edge.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
4. 4. -4- Compare the size and shape of the NS to the edges of the drawing space. You can’t see the tiny section of the NS Figure 108 hidden behind the wick; so, you need to draw around it. For now, both the table and the duck come together to5) Examine the shape of the new PS in Figure 109. become a large PS. The light gray silhouette shows you the shape of this new PS. The table is the new NS. Naturally, a large section of the6) Mentally switch this new PS to NS. table is hidden from view by the duck (Figure 110). Remember, the duck overlaps the table. Therefore, it now claims the distinction of7) Consider the shape of the duck as the new PS. being PS. However, you can draw the duck more accurately if you draw the NS instead of the PS (Figure 110). As you draw, constantly refer to the size and shape of the NS in relation to the8) Outline the shape of the NS (Figure 111). drawing space. By outlining the negative space, you have also outlined the duck. Positive and negative spaces assume distinctive shapes, and fit together like pieces of a puzzle. Figure 109 Figure 110 Figure 111Your challenge is to draw the shape of a simple object from life by outlining only theCHALLENGEnegative space.1) Find a very simple object (such as an apple or mug).2) Place the object in front of you on a table (or other flat surface).Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
5. 5. -5-3) Prop up a viewfinder frame in front of you so you can see your object through its I show you how to make a viewfinder frame in A-07 Making and Using a Viewfinder opening. Frame. Figure 112 shows the duck as seen through a4) Decide how much of the table and negative space you want to include. viewfinder frame. Arrange your object in much the same way, so a section of it appears above Figure 112 the edge of the table. Adjust your viewfinder frame as needed. You may also need to move the object closer to you or farther away.5) Draw your object by outlining the negative Follow along with the steps in the previous spaces. section (Seeing Spaces in a Real World View). With lots of practice, this process becomes totally automatic, and you can draw accurately without consciously focusing on the various stages. As a self-educated teacher, visual artist, portraitist, forensic artist BRENDA HODDINOTT (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint. Brenda is the author of Drawing for Dummies (Wiley Publishing, Inc., New York, NY) and The Complete Idiot’s Guide to Drawing People (Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN). She is currently writing two books on classical drawing. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable.Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong >Brenda Hoddinott<drawing and painting skills through self-directed learning.During her twenty-five year career as a self-educated civilian forensic artist, various criminal investigationdepartments have employed Brenda’s skills, including the Royal Canadian Mounted Police. In 1992, Brendawas honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded aCertificate of Membership from “Forensic Artists International”.In 2003, Brenda retired from her careers as a forensic artist and teacher to work full time writing books anddeveloping her website (Drawspace.com). This site is respected as a resource for fine art educators, homeschooling programs, and educational facilities throughout the world.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
6. 6. SEE AND DRAW THE Brenda HoddinottB01 BEGINNER:Seeing and sketching accurateLEARN TO SEEproportions is the foundation ofdrawing.This lesson takes you step-by-step, through the entire processof drawing a cute little candle-shaped duck, from initiallylooking at the shapes andproportions to completing acontour drawing.This project is divided into the following six sections:  Introduction  Visually Identify Shapes  Visually Measure Shapes and Proportions  Sketch Proportions  Check Proportions and Add Final Details  Challenge Suggested supplies include: paper, HB pencil, kneaded and vinyl erasers, and a pencil sharpener. This project is recommended for artists from age 10 to adult, as well as students of home schooling, academic, and recreational fine art educators. 7 PAGES – 17 ILLUSTRATIONS Published by Drawspace.com, Halifax, NS, Canada – 2005 (Revised 2009)
7. 7. -2-Learning to draw is learning to see! The process ofINTRODUCTION ART SPEAKdrawing becomes less intimidating when you can see Shape refers to thethrough the eyes of an artist. With lots of practice, you can outward outline of a form.learn this skill so well that the process becomes Basic shapes includeautomatic. circles, squares andIn this lesson, you use a photo to accurately create a triangles.contour drawing of an adorable duck-shaped candle. To Proportion refers to thedraw each part of the duck in its correct place, you relationship in size of onevisually: part of a drawing to another or others.  Break the whole object down into simple shapes. Positive space is the Figure 201 space in a drawing that is  Measure various distances occupied by an object. within shapes and spaces. Negative space is the  Sketch proportions background around an accurately. object. Contour drawing isI have changed the photo to comprised of lines thatgrayscale (Figure 201) so you follow the contours of thecan better concentrate on the edges of variousindependent shapes. components of a drawing subject and define the outlines of its forms.In this section, photos demonstrate the importance of a thorough visual examination of aVISUALLY IDENTIFY SHAPESdrawing subject. You follow along with five photos (Figures 202 to 206) to see howindividual shapes come together to create a duck-shaped candle.You can use positive and negative spaces to see the overall shape of the duck in lesson B01Drawing with Spaces. Figure 202 Figure 203 Figure 204The duck’s body is A simple circle defines The candle wick is ashaped like a kidney (or the basic shape of the long thin rectangle.kidney bean). head.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
8. 8. -3- Figure 205 ART SPEAKThe beak Overlapping is a technique used to create the illusion ofis defined depth by drawing a subject (or a part of a subject) so itas a visually appears to be in front of another (or others).simple Each of the shapes, the kidney, circle, rectangle,triangular and triangle come together like pieces of ashape. puzzle to complete an outline of the overall shape of the duck (Figure 206).A couple of unnecessarylines are deleted where Figure 206 Figure 207the head overlaps thebody, and where thebeak overlaps the head(Figure 207).VISUALLYMEASURESHAPES ANDTo draw accuratePROPORTIONSproportions, you needto visually measure the Figure 208 Figure 209vertical and horizontaldistances of each part ofyour subject.Compare each distanceto others and look forsimilarities anddifferences.For example, as Iexamine the photo ofthe duck (Figure 208), Iimmediately notice similarvertical distances inside the shapes of the head and body.As you can see in Figure 209, the length of the head (marked A) is almost exactly the sameas the distance from the bottom of the head to the bottom of the body (marked B).I again search the photo (Figure 210) for more clues to seeing the duck’s proportions bycomparing the horizontal distances inside the shapes.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
12. 12. -7-CHALLENGEFind a simple object (such as mug, vase, or piece of fruit) and create a contourTake your time and use the skills presented in this lesson.drawing from life.Remember to always examine the object you are drawing very closely, and take note ofwhether its shapes (or parts of its shapes) are in front of or behind others. As a self-educated teacher, visual artist, portraitist, forensic BRENDA HODDINOTT artist (retired), and illustrator, Brenda Hoddinott utilizes diverse art media including her favorites: graphite and paint. Brenda is the author of Drawing for Dummies (Wiley Publishing, Inc., New York, NY) and The Complete Idiot’s Guide to Drawing People (Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN). She is currently writing two books on classical drawing. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott<Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. Shedeveloped strong drawing and painting skills through self-directed learning.During her twenty-five year career as a self-educated civilian forensic artist, variouscriminal investigation departments have employed Brenda’s skills, including the RoyalCanadian Mounted Police. In 1992, Brenda was honored with a commendation from theRoyal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membershipfrom “Forensic Artists International”.In 2003, Brenda retired from her careers as a forensic artist and teacher to work full timewriting books and developing her website (Drawspace.com). This site is respected as aresource for fine art educators, home schooling programs, and educational facilitiesthroughout the world.Copyright to all articles, images, text, projects, lessons and exercises within this document belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail brenda@drawspace.com Web site http://www.drawspace.com
14. 14. -2- UNDERSTANDING SYMMETRY Symmetry in drawing is a balanced arrangement of lines and shapes, on opposite sides of an often-imaginary centerline. Shape refers to the outward outline of a form. Basic shapes include circles, squares and triangles. Lines are basically comprised of three families, straight, angle, and curved, which can be combined to make line drawings. Each family includes an endless range of different lines from thick, dark, and bold, to thin, light, and delicate. Many drawing subjects, including frontal views of faces, etc., look more believable when drawn the same on both sides. Imagine a line down the center of the following drawing, dividing it in half. On each side of this line is a mirror image of the other. Both sides are symmetrical. ILLUSTRATION 03-01 Can you see the beautiful chalice in this illustration? Can you also see the two old witches? If you have difficulty seeing both images, refer to Illustrations 03- 02 and 03-03. ILLUSTRATION 03-02 ILLUSTRATION 03-03Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
15. 15. -3- Use your minds eye to visualize an imaginary centerline right down the middle of this drawing of a koala. Again, both sides are symmetrical. ILLUSTRATION 03-04 DRAWING THE FIRST HALF In this section, you draw simple shapes and lines on the left of the line of symmetry. You need a ruler and pencils, as well as an eraser so you can fix any lines you aren’t happy with. ILLUSTRATION 03-05 1. Draw a square of any size, preferably bigger than 4 by 4 inches. 2. Use your ruler to measure the horizontal midpoint of your paper at the top and bottom, and mark each with a tiny dot. 3. Very lightly draw a line down the center of the square dividing it into two equal rectangles. This line of symmetry serves as a reference to help keep both sides of your drawing symmetrical.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
16. 16. -4- 4. Draw a curved line in the upper half of the rectangle on the left. Begin at a point on the line of symmetry near the top. Curve the line outward toward the left and then downward and toward the right until it meets the line of symmetry. ILLUSTRATION 03-06 Always place a piece of clean paper under your hand as you draw. Each time you work on a new section, remember to move your paper so it’s always under your hand. This prevents you from smudging your drawing, and protects the paper from the oils in your skin.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
17. 17. -5- 5. Draw a compound curved line that extends from the top side of the rectangle down to the bottom side. Take note that this line doesn’t touch the line of symmetry. Begin at a point on the top side, gently curve the line outward toward the left, and then downward and toward the right until you are approximately halfway down the length of the rectangle. Gently curve the line back toward the left until it meets the lower side of the rectangle close to its left side. ILLUSTRATION 03-07Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
18. 18. -6- 6. Choose a point on the last line you drew, closer to the top than the bottom and mark it with a tiny dot. 7. Pick another point close to the bottom of the left side of the rectangle, and mark it with a tiny dot. 8. Use a gently flowing curved line to connect the dots. ILLUSTRATION 03-08Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
19. 19. -7- 9. Add several straight lines inside the space created by the two lower curved lines. Take note that the lines become progressively longer and farther apart the closer they are to the bottom of the space. Watch closely the various directions in which the lines are angled. ILLUSTRATION 03-09 ADDING A MIRROR IMAGE Your goal in this section is to draw a mirror image of what’s inside the left rectangle, within the perimeter of the second rectangle. Read through all the instructions and examine each drawing before you begin. Then, put this lesson away, so you aren’t tempted to refer to my drawing instead of your own.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
20. 20. -8- Drawing upside down or sideways exercises your right brain. The following illustrations show four different views of the drawing. Experiment with each and choose whichever feels more natural for you. For example, if you are left handed, you may want to try Illustration 03-12. ILLUSTRATION 03-10 ILLUSTRATION 03-11 ILLUSTRATION 03-12 ILLUSTRATION 03-13 10. Draw a mirror image of your drawing in the second rectangle. Examine the following four illustrations before you begin. Some tips to make the process easier include: Constantly refer to your first drawing on the opposite side of your paper. Imagine you are drawing its reflection in a mirror. Think about the shape of the spaces in between the various lines. Concentrate on the directions in which the lines curve, as well as their angles and lengths, as compared to your first drawing.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
21. 21. -9- ILLUSTRATION 03-14 ILLUSTRATION 03-15Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
22. 22. - 10 - ILLUSTRATION 03-16 ILLUSTRATION 03-17Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
23. 23. - 11 - You can greatly enhance your artistic development by practicing symmetry exercises. Put your brain in gear and your pencil in motion and try each of the following. ILLUSTRATION 03-18 ILLUSTRATION 03-19 ILLUSTRATION 03-20 ILLUSTRATION 03-21 Try and find five to ten minutes each day to do symmetry exercises. Make up your very own designs, and you can even color them in with colored markers for additional fun!Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
24. 24. - 12 - ILLUSTRATION 03-22 You may want to use colored pencils or markers to add color to your design. Here are a couple of samples (colored in Photoshop) to get your creative juices flowing! ILLUSTRATION 03-23Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
25. 25. - 13 - BRENDA HODDINOTT - BIOGRAPHY As a self-educated teacher, visual artist, portraitist, forensic artist, and illustrator, Brenda Hoddinott utilizes diverse art media including graphite, technical pen, colored pencil, chalk pastel, charcoal, conté crayon, and oil paints. My philosophy on teaching art is to focus primarily on the enjoyment aspects while gently introducing the technical and academic. Hence, in creating a passion for the subject matter, the quest for knowledge also becomes enjoyable. >Brenda Hoddinott< Born in St. John’s, Newfoundland, Brenda grew up in the small town of Corner Brook. She developed strong technical competencies with a personal commitment to self directed learning, and the aid of assorted “Learn to Draw” books. During Brenda’s twenty-five year career as a self-educated civilian forensic artist, numerous criminal investigation departments have employed Brenda’s skills, including Royal Canadian Mounted Police and municipal police departments. In 1992, Brenda was honored with a commendation from the Royal Canadian Mounted Police, and in 1994, she was awarded a Certificate of Membership from “Forensic Artists International”. Her home-based art career included graphic design, and teaching recreational drawing and painting classes. As supervisor of her community’s recreational art department, Brenda hired and trained teachers, and designed curriculum for several children’s art programs. In 1998, Brenda chose to end her eighteen-year career as an art educator in order to devote more time to writing, drawing, painting, and developing her websites. Drawspace http://www.drawspace.com incorporates her unique style and innovative approach to curriculum development. This site offers downloadable and printable drawing classes for students of all abilities from the age of eight through adult. Students of all ages, levels and abilities have praised the simple step-by-step instructional approach. This site is respected as a resource for fine art educators, home schooling programs, and educational facilities throughout the world. LEARN-TO-DRAW BOOKS BY BRENDA HODDINOTT Drawing for Dummies (2003): Wiley Publishing, Inc., New, York, NY, this 336 page book is available on various websites and in major bookstores internationally. The Complete Idiot’s Guide to Drawing People (2004): Winner of the Alpha-Penguin Book of the Year Award 2004, Alpha - Pearson Education – Macmillan, Indianapolis, IN, this 360 page book is available on various websites and in major bookstores internationally.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web site http://www.finearteducation.com
27. 27. 2 EXERCISING YOUR RIGHT BRAIN In this part, all you need is a brain, an open mind, and a little patience. With some simple visual exercises, you exercise both your brain and vision. Your brain has two sides, the right hemisphere (right brain) and the left hemisphere (left-brain). Left-brain thinking is analytical and verbal. Right-brain thinking is visual and perceptive. You use both right and left-brain functions for drawing. Our education system emphasizes the importance of left-brain functions. This is logical when you realize that the left-brain controls most mathematical and verbal skills. As a result, many persons are left-brain dominant. Many of the perceptive skills needed for drawing are processed by the right brain. Exercising some dormant abilities of your right brain helps you to see differently and thereby draw better. This exercise may help you notice when your brain switches sides. It’s sometimes referred to as an optical illusion. Have a look at the drawing in Illustration 04-01. What do you see? Do you see a vase? Can you see two faces? ILLUSTRATION 04-01Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
28. 28. 3 If you could see both the vase and the two faces, you just experienced a switch of your right and left-brain functions. If you had difficulty seeing both, the next two drawings may help. In the first one the vase is black. In the second the faces are black. Can you see them both now? ILLUSTRATION 04-02 ILLUSTRATION 04-03 Many of the perceptive skills needed for drawing are processed by the right brain. Your creative and insightful right brain plays various roles in drawing, such as:  Seeing abstract connections between lines, shapes, and spaces,  Helping with the process of drawing in a non-narrative context by instinctively seeing proportions,  Combining the varied visual components of your drawing subject to form a whole image,  Planning instinctive compositions  Allowing you to better concentrate on drawing by blocking distractions and sometimes even losing track of time. The primary functions of your left brain include:  Using mathematical logic to establish proportions, such as examining measurements of lines and spaces, and drawing grid lines,  Naming the individual parts of the person you are drawing,  Analyzing the numerical and verbal sequences of step-by-step instructions  Keeping track of time frames.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
29. 29. 4 The next illustration provides you with another opportunity to see both the faces and a vase. The solution to this illusion is in the two illustrations following this one. ILLUSTRATION 04-04 ILLUSTRATION 04-05 ILLUSTRATION 04-06 Symmetry in drawing is a balanced arrangement of lines and shapes on opposite sides of an often-imaginary centerline. Many drawing subjects, including frontal views of vases, faces, wine glasses, flowerpots, and forms such as spheres, cones, and cylinders, look more realistic when drawn the same on both sides.Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com
30. 30. 5 Can you see the symmetry in the beautiful chalice in Illustration 04-07? Imagine a line of symmetry right down the middle of this drawing, dividing it in half vertically. Each side is a mirror image of the other. Both sides are symmetrical. Can you also see the two old witches? ILLUSTRATION 04-07 ILLUSTRATION 04-08 ILLUSTRATION 04-09Copyright to all articles, images, text, projects, lessons and exercises within this drawing class belong to Brenda Hoddinott and may not be reproduced or used for any commercial purposes whatsoever without the written permission of Brenda Hoddinott. E-mail bhoddinott@hoddinott.com Web sites http://www.finearteducation.com and http://www.drawspace.com