Green linesensitivity, illusion of space
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Green linesensitivity, illusion of space
- 1. Drawing 1 Creating Space Variances in perspective and line sensitivity
- 2. FIVE ESSENTIAL SKILLS FOR DRAWING 1) identify edges, 2) recognize spaces, 3) calculate proportions and angles, 4) judge light from shadow, and 5) the unconscious skill of "pulling it all together".
- 4. It’s also a type of DESCRIPTIVE LINES • OUTLINE - – An outline is a line that surrounds a shape. – The lines of an outline are usually the same thickness throughout. – Also, only the outer edges of the shapes are defined.
- 5. DESCRIPTIVE LINES • CONTOUR LINES- – Also define the outer edges of shapes. – Unlike outlines, however, contour lines vary in thickness and darkness. – They also define the edges of shapes within a form. – They give a greater sense of depth to the object.
- 6. NO SHADING THIS WEEK. KEEP YOUR FOCUS ON: SHAPE, RELATIONSHIP OF SHAPES TO ONE ANOTHER, and LINE SENSITIVITY
- 7. Size-larger objects appear closer
- 9. 3. Contrast and Value
- 10. 4. Placement
- 11. Color-warm colors appear closer
- 25. What Is Meant by “Sensitive” Line? SENSITIVE: Having the power of sensation; ready and delicate in response to outside influences; able to register minute changes or differences; degree of responsiveness to stimuli; having power of feeling; of such a nature as to be easily affected Line Variation and Sensitivity
- 27. Ways to Approach Line Sensitivity 1. Weight and Tension in a Form 2. High and low points of a Form 3. The strength or force of an Edge 4. The spatial Sequence of forms 5. Degrees of importance
- 28. Ways to Approach Line Sensitivity Weight and Tension in a Form
- 29. Ways to Approach Line Sensitivity Light and Dark or the Illumination of a Form
- 30. Ways to Approach Line Sensitivity High and Low Points in the Contours of a Form
- 31. Ways to Approach Line Sensitivity Strength or Force of an Edge
- 33. Ways to Approach Line Sensitivity The Spatial Sequence of Forms
- 34. Ways to Approach Line Sensitivity Degrees of Importance
- 35. STUDENT WORK BASED ON LINE SENSITIVITY
Editor's Notes
- This week we continue with our pursuit of edges—including outlines and contours
- Outlines are the outer edge of a shape or form
- Contours include the outer edges of the form, but also can include major landmarks within the shape or form.
- Sensitive line is sensitive in its description of and response to both inner and outer contours or edges of a form. If desired, sensitive line is able to register minute changes or differences found along the contours or edges of a form.
- Sensitive line is responsive to both subtle and not-so-subtle activity found along the contours or edges of a form. Sensitive line has the power to convey a strong sense of volume, mass, form, weight, dimensionality, and feeling. Whether it addresses a particular form or exists independently, it can display various qualities—textured or smooth, dark or light, continuous or broken, curvilinear or rectilinear, heavy or delicate, thick or thin
- Where forms meet another form, or where surfaces meet another surface, lines can be darker to suggest these junctures. Where weight is supported, a darker or heavier line can be used. The point or edge where one form rests on or presses against another form can be emphasized through a darker or heavier line
- Edges bathed in shadow may be depicted with a darker, heavier line, and edges washed in light may be depicted with a lighter, more delicate line
- High and Low Points in the Contours of a Form This process, very simply, suggests that as contours dip into or toward the major mass of a form (depressions), they theoretically move away from light and into shadow, and can be suggested through use of a darker or heavier line.
- Most exterior edges, like the outermost edge of a bulb of garlic or the outermost edge of the human figure, are firm and definite. They are the result of a form meeting negative space. But other edges, typically found in the interior of a form, can range from firm to fairly gentle to extremely delicate, and the line work used to describe these edges can reflect this difference
- This applies not only to the spatial relationships between various forms, but also to the spatial relationships found within a single form that is volumetric or three-dimensional. On a light drawing surface, darker lines advance or come forward and lighter lines recede or move back in space.
- Using a full range of value in lines used to describe forms, one can suggest full volume and a clear separation between foreground, middle ground, and background
- This method implies the development of focal points in a composition through greater development of line. Areas of greater or lesser importance are described to a greater or lesser degree through line, creating dominant passages in a composition, or focal points