| Types
of Drawing |
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subjective
drawing
objective drawing |
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informational
drawing
schematic drawing
pictorial recording
naturalism realisms
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| Organization |
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gesture |
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mass
line
scribbled line
sustained |
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contour |
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blind |
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continuous
line
organizational line |
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| Spatial
Relationships |
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space |
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hierarchical
conventionalized / symbolic
flat
illusionistic
realistic
naturalistic
ambiguous |
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shape |
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geometric
organic / biomorphic
implied |
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picture
plane
positive / negative
figure / ground
volume |
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plane
mass
modeling |
| Spatial
Illusion & Perspective |
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eye
level
base line
cone of vision
aerial perspective
linear perspective |
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foreshortening |
Line
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contour
blind contour
cross contour
mechanical
structural
lyrical
constricted, aggressive
calligraphic
implied
blurred |
contour
blind contour
cross contour
mechanical
structural
lyrical
constricted, aggressive
calligraphic
implied
blurred
hatching
cross hatching
stipple
scumble
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| Value
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Lit Sphere and Value Color |
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local
value
arbitrary
made by: line tone cross-hatching
descriptive |
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structure
weight
light
space
highlight
shadow
core of shadow
reflected light
cast shadow
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expressive |
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value
reversal |
| Texture |
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actual |
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grattage
collage
papier colle'
montage
photomontage
assemblage |
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transfer |
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frottage |
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simulated |
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trompe-l'oeil |
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invented |
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| Color |
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hue
value
intensity
local color |
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optical
color |
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LINE
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| Continuous
Lines |
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1.
Use an implement that permits a free-flowing line.
2. Use an unbroken line for the entire drawing.
3. Keep your drawing implement constant in contact with the
paper.
4. Draw through the forms as if they were transparent.
5. Describe both outside edges and internal shapes.
6. Fill the entire surface of your paper, encompassing positive
and negative shapes.
7. Vary the weight of the line
8. Your lines will overlap. |
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Organizational Lines
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1. Begin with horizontal and
vertical lines, both actual and implied: add diagonal lines
last.
2. Establish heights and widths of all objects and background
shapes.
3. Allow lines to penetrate through objects, establishing
relationships between objects.
4. Correct basic shapes
5. Check on proportion, relative heights, and widths.
6. Lines should continue past objects into negative space.
7. When you have established proportions, darken some of the
forms. Establish their exact shapes.
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Contour
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1. Use a well-sharpened pencil
or pen and ink. Later felt-tip markers and grease pencils
can be used, but in the beginning use a sharp-pointed implement.
2. Keep your eyes on the subject.
3. Imagine that your drawing tool is an actual contact with
the subject.
4. Keep eyes and hand coordinated. Do not let your eyes move
more quickly than your hand.
5. Draw only where there is an actual structural plane shift,
or where there is a change in value, texture, or color.
6. Draw only existent planes. Do not make meaningless lines.
7. Do not retrace over already stated lines.
8. Do not erase for correction
9. Remember that contour line is a single, incisive line
10. Vary the weight of the line to relay information about
space and weight and to offer contrast.
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| Mechanical
Line |
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is
an objective, non-personal line that maintains the same width
along its full length. |
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| Structural
Lines |
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indicate
plane direction and reveal planar structure. Structural lines
build volume and create a three-dimensional effect. |
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| Lyrical
Line |
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is
a subjective, expressive line that is gracefully ornate and
decorative. |
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| Constricted,
Aggressive Line |
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makes
use of angular, crabbed, assertive, tense marks. Such marks
are aggressively stated. They may be ugly and scratch, carriers
of a better expression; they convey the feeling of tension. |
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| Calligraphic
Line |
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is
a free-flowing continuous line that resembles handwriting, making
use of gradual and graceful transitions. |
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| Implied
Line |
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is
one that stops and picks up again. The viewer conceptually fills
in the breaks. This is sometimes called a lost and found line.
(Gestalt) |
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| Blurred
Lines |
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are
smudged, erased, or destroyed in some way, either by rubbing
or by erasure. They are frequently grouped to form a sliding
edge. |
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| Whimsical
Line |
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is
a playful line quality seen often in naïve, childlike subjects.
This subject type of line is intuitive and direct. Width may
change arbitrarily. |
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| Hatching |
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uses
parallel lines. The closer that they are made, the darker the
value. They may be mechanical or expressive. |
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| Cross-hatching |
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uses
crossed lines. The closer and more crossed they are, the darker
the value. They may be mechanical or expressive. |
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| Stipple |
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uses
dots or spots. The closer that they are made, the darker the
value. |
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| Scumble |
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is
a controlled scribble. The more the lines overlap, the darker
the value. The lines may be angular or circular. |
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Texture Vocabulary
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| ACTUAL
TEXTURE |
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surface of the work, the
medium, and any materials added to the surface
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grattage
a textural technique that incises or scratches marks into
a surface prepared with a coating, for example, gesso.
fumage
a textural technique that uses smoke as the medium
collage
any flat material, such as newspapers, cloth, or wallpaper,
pasted on to the picture plane.
papier colle
The French term for pasted paper; a technique consisting of
pasting and gluing paper materials to the picture plane
montage a technique
that uses pictures to create a composition.
photomontage
a technique that uses photographs to create a composition.
assemblage
a work of art composed of fragments of objects or three-dimensional
materials originally intended for other purposes; the art
of making such work.
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CROSSOVER TEXTURE
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frottage
a textural transfer technique; the process of making rubbings
with graphite or crayon on paper laid over a textured surface
photocopy
transfer
There are several transfer techniques. One is using wintergreen
oil to move a photocopied image to another drawing surface.
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| SIMULATED
TEXTURE |
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a
convincing copy of an object's texture |
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trompe-l'oeil
The French term for trick-the-eye illusionistic techniques. |
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| INVENTED
TEXTURE |
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an
invented, nonrepresentational patterning that may derive from
actual texture but does not imitate it. Invented texture may
be highly stylized |
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VALUE |
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| Local |
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actual
value not dependent on lighting variables |
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| Arbitrary |
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does
not necessarily conform to the actual appearance of an object
-- intuitive response or need for compositional demands. |
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| Descriptive |
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Structural
- used to describe the structure or planar makeup of an object.
It need not depend on the natural laws of light. |
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| Weight |
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enforcement
of weight or density of an object (sense of gravity) by placing
darker values at points of greatest pressure or weight or at
places where the greatest tension occurs. |
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| Light |
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obeys
the natural laws that govern the way light falls on objects.
highlight
light
shadow
core of shadow
reflected light
cast shadow |
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| Reduction |
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rendering
value to its extremes: light or dark. Values from 1 to 5 will
be white; from 5 to 9 will be black. |
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| Space |
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Artists
may comply with nature to describe space as it actually appears,
or they can promote the feeling of space by the use of value. |
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| Expressive |
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Emotional
response to value |
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| Reversal |
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reversing
the values of perceived light. (using a white to render what
is seen as dark values on black paper.) |
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| Subjective |
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subordinate
visual appearances to emotional content |
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| Abstract
Patterns |
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value
can be used to create both abstract patterns and non-objective
shapes. |
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