Contouremphasis
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This document discusses using value in contour drawings to add focal points. It explains that adding detailed shading and contour lines with attention to line weight can create a full composition while also focusing the viewer's attention on an important area. Examples are provided of drawings that use value in a small area, like a face or arm, to draw the eye while still providing background information through contour lines. Students will be asked to draw a still life using contour lines for composition and details, and then select a small area to add value and emphasis through shading rather than just contours.
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Value drawing uses ranges of tones from light to dark to create a three-dimensional illusion without outlines. Key aspects of value drawing include using a range of tones from white (highlights) to black (shadows) to define shapes, filling the entire composition with values rather than just outlines, and focusing on shading areas rather than lines. Successful value drawings eliminate outlines and use values throughout to realistically depict form, light, and shadow.
FREEHAND SKETCHING-I FREEHAND SKETCHING-I
This document provides guidance on freehand sketching techniques for engineers. It discusses the purposes of sketching, such as conveying ideas and documenting measurements. It emphasizes that sketches should have proper proportions and details though they are not to scale. The document then covers various sketching techniques including how to draw straight lines, circles, arcs, and ellipses. It also addresses using size and proportion methods like the pencil measurement technique or boxing in a sketch. Finally, it introduces the alphabet of lines used in technical sketches.
Treasure presentation
The document provides details on modeling a treasure chest, including skills required, a Gantt chart timeline, reference image, and descriptions of modeling different parts of the chest. It discusses modeling the leg, box, base, lid, lid details, lock, final model setup, and texturing process. The modeling was done in 3ds Max and texturing in Photoshop. The document concludes with an evaluation of how the project met the assignment specifications.
Line weight
This document discusses how varying the density or thickness of lines when drawing can enliven a work and make it more interesting and engaging for viewers. Specifically, it discusses three techniques for varying line weight: 1) Making some lines darker than others to create a hierarchy, 2) Varying lines from thick to thin to create areas that appear to disappear and reappear, and 3) Using multiple lines in some areas while leaving other areas with single lines. It also explains how varying line weight can be used to create effects like making objects appear weighted down, establishing a focal point, and indicating a sense of space and depth.
Finding Volume of a plastic cup by using Integration
Finding volume of a plastic cup by
using Integration.
Created by : Wynn and Joshua.
Performance task of Mathematics, Binus School Bekasi.
Equivalents - Project Summary
The document summarizes an art student's equivalents project based on a still life scene. It includes sketches, drawings, paintings and a 3D model replicating the still life in different styles and using various materials and techniques. The student evaluated their work, noting strengths in developing ideas and room for improvement in time management and presenting homework. Overall, the student answered the project brief through a range of studies and techniques learned in class.
Music Magazine Double Page Progression
The document describes the process of designing a double-page spread for a music magazine in Adobe InDesign and Photoshop. Key steps include:
1) Creating a double-page spread to allow images to span both pages and simplify layout.
2) Using large, colorful headings in a sans-serif font to catch readers' attention.
3) Adding credits and positioning them prominently but without disrupting the layout.
4) Arranging images, text, and quotes harmoniously around and across the spread to engage readers visually and maintain a cohesive design.
Zeeshans Music Magazine Double Page Progression
The document discusses the creation of a double-page spread for a music magazine in InDesign and Photoshop. Key elements include making a double-page spread to allow images to span both pages, using large headings in red and black fonts, adding introductory text and credits in a stair-like layout, including a large central image of an artist in a black leather jacket, and incorporating quotes around and within images in a stencil font to highlight them. The overall goal is to attract audiences through a professionally integrated design.
DESS105-Drawing and sketching -Lines.pdf
The document discusses different line drawing techniques that were covered in a drawing class. It defines line, describes 5 basic types of lines, and explains 5 line drawing techniques: 1) blind contour line drawing, 2) gesture line drawing, 3) continuous line drawing, 4) contour line drawing, and 5) cross contour line drawing. The class practiced these techniques through exercises sketching objects and hands. Homework involves sketching 5 personal objects with the different techniques.
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Finding Volume of a plastic cup by using Integration
Finding Volume of a plastic cup by using Integration
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Everson portraitdrawing
Portraits drawn while my kids nap. The document provides guidance on selecting good photographs to work from when drawing portraits, including ensuring the image is in focus, large enough, and has clear facial features and contrast. It also emphasizes observing and drawing what you see in the photograph accurately rather than altering features. Basic anatomical proportions and measurements for portraits are described to help artists get proportions correct, including dividing the head and face into sections and using eye placement to guide other facial features. Rendering details like eyes, nose, mouth, and facial contours with value and shadow rather than outlines is emphasized for realistic portraits.
Portraitplanning
This document lists various artists that inspired students to create self portraits using different mediums like pencil, charcoal, and more. It describes each student's artistic inspiration and the medium they used for their self portrait, with the largest influences being Chuck Close, Jack Beal, and Frida Kahlo based on the multiple mentions.
Toned paper
When using charcoal and white conte on gray paper, do not blend the two but instead use each separately to define different values - white conte for lighter tones, gray paper for mid-tones, and charcoal for darker tones and blacks. The gray paper provides a mid-tone value that falls in the scale depending on how dark or light it is. If filling the background with a darker tone, be sure to cover the entire background evenly rather than just making a dark halo around the subject.
Negativeexamples
This document provides feedback on student collage assignments. It notes that one collage works well due to consistent paper sizing and breaking up space throughout, while another is less successful because colors and image scales are distracting. A third collage effectively uses a continuous background image to make a positive image stand out, but pencil lines distract from this effect. Students should rely only on collage materials to define spaces.
Final portrait
Chuck Close is famous for his extremely detailed portraits which are created by photographing subjects, gridding the images, and carefully reproducing each square to capture every hair, pore, and flaw; this process results in large-scale, highly realistic portraits that feel personal because they choose not to idealize subjects but depict each wrinkle and expression.
Abstractobserv
Georgia O'Keefe was an influential American artist in the 1920s who challenged conventions by abstracting subjects she painted from life. She examined common natural objects like flowers from unusual perspectives and compositions, simplifying forms while using the entire composition space. This allowed her works to be both realistic paintings and abstract representations, as she carefully depicted shadows, surfaces, and tonal shifts despite manipulating scale and perspective.
Color
The document discusses various techniques for mixing and layering colored pencils to create depth, texture, and realism in drawings. It explains that all color mixing uses primary colors of red, blue, and yellow, and secondary colors are created by combining primaries. Various layering techniques are described such as hatching, cross hatching, scumbling, burnishing, and directional lines to build up color and texture through overlapping layers. Examples of drawings demonstrate how these techniques can be used to render different surfaces and textures like fabric, wood, and fruit.
Pen Interiors
This document provides guidance for drawing interior spaces using pen. It recommends not including people in the drawing. A dark pen drawing is shown as an example that beautifully depicts lighting in a room.
Collagedsurface
Creating a varied surface by collaging different papers together provides an interesting surface to draw on. The drawing materials will react differently to the textures and colors of the collaged papers, adding depth and interest to the drawing. While the collaged papers are not the focus, they provide an engaging surface. Notice how charcoal reacts differently across the varied collaged surface in this example. There are many ways to build a collaged surface, such as layering circles of paper or using strips to create controlled variation. In class, students will spend 45 minutes collaging papers together to create a surface for drawing a still life over two days.
Ink
Hatching uses lines of varying closeness to create shading and value. Closer lines produce darker tones, while lines farther apart appear lighter. Hatching has been used effectively in the image to shade the building and provide dark shadows on the coat with thick, heavy lines and lighter tones on the collar, face, and hands with thinner lines spaced farther apart. Cross hatching overlays hatched lines at an angle so the lines cross, resulting in shading. The drawing uses various hatching techniques like long or short lines, evenly spaced versus random lines, to achieve different effects. Our first assignment is to create three nine step value scales using pen with different techniques like hatching, cross hatching, and a texture
Outdoorsketches 090924000725 Phpapp02
This document provides guidance on how to draw landscape drawings that are well-observed and detailed. It instructs students to pay attention to the specific shapes, textures, proportions and lighting when drawing trees, leaves, bark, and other natural elements. Students are advised to draw loose and gestural landscapes that capture light, dark, and texture, rather than generalized tree and rock shapes. The assignment is to complete at least one landscape drawing using pencil or charcoal that demonstrates composition, shapes of light and dark, texture, form and proportion through close observation.
Nature
This document discusses nature drawings and studies from before the invention of photography. Such drawings aimed to accurately record natural objects and their details to aid future identification and study. Artists would meticulously draw plants, animals, and insects, representing each leaf vein, feather, or bark texture as closely as possible. The document provides examples of drawings showing intricate plant textures through use of dots, lines, and varying line weights. It describes an in-class exercise where students divide a page into squares and fill each with a texture study from objects they brought. The assignment is then to create a page of nature studies drawing all objects in detail while varying their size and angles to fill the entire page.
Intermediate Drawing2010
This document discusses various drawing techniques and concepts, encouraging the development of observational drawing skills while experimenting with materials and mark-making to convey meaning and mood. It highlights examples that demonstrate mastery of fundamental drawing principles like value, perspective and composition, even when incorporating imagination or stylization, showing how a grounding in observation informs successful expressive works.
Mark
Using expressive marks in drawing can add interest and show action. Different sized hatched lines can convey both movement and shading. Drawing the subject multiple times, erasing, and redrawing on top adds motion. Artists like William Kentridge use expressive marks that are smudged and moved to create animation in still images. Controlled hatching can provide great detail while still expressing movement. Varied marks can define different elements, such as sweeping lines suggesting light.
Reflective
Drawing reflective surfaces requires careful observation of the environment and object being reflected. Reflections can show different parts of objects than what is directly visible, and reflections in curved surfaces will appear warped. The type of reflective material, whether glass, metal, or other smooth surface, impacts what is reflected and how distortions appear. Successful drawings of reflections involve paying close attention to lighting and all potential objects and surroundings that could be reflected.
Miniscule To Monumental
The document discusses three drawings of the same still life objects from different points of view, showing how perspective can affect the feeling of a drawing. The overhead view makes the simple objects feel large and grand by taking up the entire composition. Dramatic lighting is also used to give small objects a sense of action and importance.
Contour1
This document discusses line weight techniques used in coloring book pages, specifically contour portraits and still lifes. Thicker, darker lines are used to depict areas of shadow or objects closer to the viewer, while thinner, lighter lines show fine details or objects in the background to convey depth and detail through line variation alone.
Three Dimensional Space
The picture plane refers to both the actual surface of the drawing and the imaginary transparent plane through which the artist views the subject. When drawing, the artist looks through the imaginary plane to observe the subject, then transfers this information to the actual drawing surface. Different uses of the picture plane can change the perceived spatial relationship between elements in the drawing.
Drawing day one
Drawing has a long history used for expression, communication, and recording the natural world. It is used in many contexts from children's early drawings to technical drawings, political cartoons, comic strips, and planning future artworks or projects. While some drawings are made through observation, others are conceived through imagination, perspective, and composition rules.
Grid
Chuck Close is an influential contemporary photo-realist painter known for his large-format portraits that resemble photographs due to their intense rendering and detail, which can take up to two years to complete. Rather than working from life, Close works from photographs using a gridding method to enlarge the image accurately onto a larger canvas. Throughout his career, Close often reused photographs with different grid sizes and materials. The grid allows him to achieve precision even with difficult materials. After becoming paralyzed in 1988, Close continued painting by strapping a brush to his hand and hiring an assistant to draw grids for him.
More from cjoyce104 (20)
Contouremphasis
- 1. We have used contour on it’s own to define objects and create a composition. Today we will insert a small amount of value into our drawing to add a focal point to our drawing.
- 2. By using both detailed shading and contour lines with attention to line weight you can build a full composition, but also focus the viewer’s attention on the area you find most interesting or important. This drawing focuses our attention on the portrait face by using value, but still gives background information with detailed contour observations.
- 3. This image focuses our eye on the arm and the shadow it casts.
- 4. Obviously our attention in this drawing is focused on the draped robes of the figure rather than on the figure as a portrait. Notice the contour detail that is still present in the portions of the drawing that have no value.
- 5. Once again our gaze is focused on the face of the figure, but again this drawing provides interesting information drawn with contour and attention to line weight.
- 6. The two figure have been shaded in this drawing, but all the contour information in the background adds depth and provides information about their surroundings.
- 8. Here are four variations on the same contour drawing. Three of them are using value in a small area to draw focus to the details in that area.
- 9. In class today you will use pencil to draw one of the still life options I have provided for you. Use contour line to add all of the details in your drawing and create a composition that uses the entire page. Once the contour drawing is finished, you will select one small area to add value and emphasis. In the area where you add value, be sure that the edges of things no longer rely on contour, but use value to show shifts in edges.