Pen Interiors
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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.
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- Perspective drawing refers to representing objects arranged in space from a single point of view, affecting proportions and composition. The artist's position in relation to the subject is important.
- Looking at a drawing implies the viewer's point of view - whether looking up, down, or straight ahead. The field of vision is cone-shaped, with its apex at eye level.
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Moleskine sketchbooks come in various sizes and are suitable for drawing what you see around you using different materials like graphite pencil, colored pencil, and collage. The sketchbook provides an opportunity to practice techniques like line weight with pen and develop drawing skills. While some drawings may be simple, including doodles, experimenting with different subjects, materials, and compositions in your sketchbook can inspire further drawings and improve your abilities.
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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.
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Hatching uses lines of varying closeness to create shading and value, from dark to light. Cross hatching overlays hatched lines at an angle to achieve shading. Scumbling uses layers of small scribbled marks in varying directions to build texture and value, such as depicting the texture of walls.
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Abstractobserv
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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.
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
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When drawing in black and white, an artist must consider the lightness or darkness, called local value, of each object. Local value will vary between objects and be darker in shadows and highlights. Chiaroscuro refers to the use of light and dark values to create the illusion of three-dimensional form and show drama through contrast. For class, students will draw a still life by first blackening the page with charcoal and then using an eraser to pick out highlights and mid-tones, observing local value and avoiding outlining.
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Proportion involves getting the sizes of objects correct relative to each other in a composition. The document discusses human proportions and provides examples from Leonardo Da Vinci's Vitruvian Man and Andrea Mantegna's Dead Christ. It also defines foreshortening as rendering an object or figure in depth to show distortions in perspective. Observing proportions in these examples and using techniques like measuring with a pencil, using a viewfinder to divide space into a grid, and focusing on basic shapes can help one accurately draw objects and figures, especially those seen at unusual angles or from a distance.
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This document discusses how to draw a sphere using value by capturing the reflected light on the bottom edge from the ground, which usually occurs in the same area as the cast shadow. It emphasizes that capturing this reflection is key to drawing a successful sphere, as shown in a photograph of an egg where the reflected light can be seen on the rounded form along with the shadow showing a variety of values from darkest under the egg to lighter as it moves farther away.
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.
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.
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The document discusses the color spectrum and different types of colors. It explains that the spectrum consists of red, orange, yellow, green, blue, purple, and indigo arranged in order. Primary colors are red, yellow and blue which can be mixed to create secondary colors of orange, green and purple. Tertiary colors result from mixing primary and secondary colors adjacent on the color wheel. Complimentary colors are opposite each other on the wheel, and mixing them creates brown. The document provides tips for using pastels including mixing dark values with primary or secondary colors instead of black or brown.
Value: form in light
The document discusses value drawing techniques. Value drawing uses ranges of light and dark tones to create a three-dimensional illusion without outlines. An object can be defined solely by its values. Successful value drawings use light and dark tones throughout the entire composition. Creating a value scale is recommended to help artists identify the range of tones in their subject matter.
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.
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This document provides examples and instructions for creating collages by rearranging pieces of photographic images. It explains that collages can be made using a single image by slicing it into geometric shapes and rearranging the pieces. Multiple copies of an image can also be used. The goal is to abstract or disrupt the original image in an interesting way. Students are assigned to create their own collage by rearranging one or two photos and then draw based on their collage.
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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.
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Hatching uses lines of varying closeness to create shading and value, from dark to light. Cross hatching overlays hatched lines at an angle to achieve shading. Scumbling uses layers of small scribbled marks in varying directions to build texture and value, such as depicting the texture of walls.
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.
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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.
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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.
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- When drawing a portrait, the width of the head is two-thirds of its height when viewed straight on and seven-eighths of the height when viewed in profile.
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This document discusses different approaches that artists have taken to self-portraiture throughout history. Some artists have taken very formal approaches that reveal little about the artist, while others have used self-portraiture to explore emotions or provide psychological insight. Additional approaches include idealizing or dramatizing oneself, incorporating significant objects, depicting oneself as something else, or portraying only a portion of the self. A wide range of styles and levels of expression are seen across the many self-portrait examples provided.
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