5.4: Techniques for Drawing Shape
- Page ID
- 341480
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\(\newcommand{\avec}{\mathbf a}\) \(\newcommand{\bvec}{\mathbf b}\) \(\newcommand{\cvec}{\mathbf c}\) \(\newcommand{\dvec}{\mathbf d}\) \(\newcommand{\dtil}{\widetilde{\mathbf d}}\) \(\newcommand{\evec}{\mathbf e}\) \(\newcommand{\fvec}{\mathbf f}\) \(\newcommand{\nvec}{\mathbf n}\) \(\newcommand{\pvec}{\mathbf p}\) \(\newcommand{\qvec}{\mathbf q}\) \(\newcommand{\svec}{\mathbf s}\) \(\newcommand{\tvec}{\mathbf t}\) \(\newcommand{\uvec}{\mathbf u}\) \(\newcommand{\vvec}{\mathbf v}\) \(\newcommand{\wvec}{\mathbf w}\) \(\newcommand{\xvec}{\mathbf x}\) \(\newcommand{\yvec}{\mathbf y}\) \(\newcommand{\zvec}{\mathbf z}\) \(\newcommand{\rvec}{\mathbf r}\) \(\newcommand{\mvec}{\mathbf m}\) \(\newcommand{\zerovec}{\mathbf 0}\) \(\newcommand{\onevec}{\mathbf 1}\) \(\newcommand{\real}{\mathbb R}\) \(\newcommand{\twovec}[2]{\left[\begin{array}{r}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\ctwovec}[2]{\left[\begin{array}{c}#1 \\ #2 \end{array}\right]}\) \(\newcommand{\threevec}[3]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\cthreevec}[3]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \end{array}\right]}\) \(\newcommand{\fourvec}[4]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\cfourvec}[4]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \end{array}\right]}\) \(\newcommand{\fivevec}[5]{\left[\begin{array}{r}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\cfivevec}[5]{\left[\begin{array}{c}#1 \\ #2 \\ #3 \\ #4 \\ #5 \\ \end{array}\right]}\) \(\newcommand{\mattwo}[4]{\left[\begin{array}{rr}#1 \amp #2 \\ #3 \amp #4 \\ \end{array}\right]}\) \(\newcommand{\laspan}[1]{\text{Span}\{#1\}}\) \(\newcommand{\bcal}{\cal B}\) \(\newcommand{\ccal}{\cal C}\) \(\newcommand{\scal}{\cal S}\) \(\newcommand{\wcal}{\cal W}\) \(\newcommand{\ecal}{\cal E}\) \(\newcommand{\coords}[2]{\left\{#1\right\}_{#2}}\) \(\newcommand{\gray}[1]{\color{gray}{#1}}\) \(\newcommand{\lgray}[1]{\color{lightgray}{#1}}\) \(\newcommand{\rank}{\operatorname{rank}}\) \(\newcommand{\row}{\text{Row}}\) \(\newcommand{\col}{\text{Col}}\) \(\renewcommand{\row}{\text{Row}}\) \(\newcommand{\nul}{\text{Nul}}\) \(\newcommand{\var}{\text{Var}}\) \(\newcommand{\corr}{\text{corr}}\) \(\newcommand{\len}[1]{\left|#1\right|}\) \(\newcommand{\bbar}{\overline{\bvec}}\) \(\newcommand{\bhat}{\widehat{\bvec}}\) \(\newcommand{\bperp}{\bvec^\perp}\) \(\newcommand{\xhat}{\widehat{\xvec}}\) \(\newcommand{\vhat}{\widehat{\vvec}}\) \(\newcommand{\uhat}{\widehat{\uvec}}\) \(\newcommand{\what}{\widehat{\wvec}}\) \(\newcommand{\Sighat}{\widehat{\Sigma}}\) \(\newcommand{\lt}{<}\) \(\newcommand{\gt}{>}\) \(\newcommand{\amp}{&}\) \(\definecolor{fillinmathshade}{gray}{0.9}\)This section introduces several fundamental approaches that artists use to create impactful drawings. These techniques include negative space and shape consideration, the Block-in-Method for structuring compositions, value shading to render form, outlines, and silhouettes to define shapes, and grids to maintain proportion and precision. These tools allow artists to add depth and structure to their drawings, making them essential in drawing.
Positive and Negative Shape Drawing (right)
Every drawing consists of shapes (positive space) and the space around these shapes (negative space). Both are equally crucial in a composition.
• Positive Shape: This refers to the main subject of the artwork.
• Negative Shape: This refers to the background or the space around and between the subject(s). By manipulating negative space, you can accentuate or diminish the importance of certain shapes.
Instead of drawing the subject, artists focus on drawing the space around it. This helps develop a keen sense of spatial relationships and improves accuracy.
• Position a chair or plant against a plain background.
• Draw the spaces around and within the subject rather than the subject itself.
"Positive and Negative Space" by Kristen R. Kennedy is licensed CC BY 4.0.
Block-in Method (left)
Before diving into details, it is often useful to "block in" basic shapes to get the general composition and proportion right. For instance, a human head can initially be represented as an oval, upon which more detailed features can be layered.
• Choose a complex scene or image.
• Roughly sketch the scene using only basic shapes to block in major elements.
Mugshot" by ART 005A student is used with permission.
Outlines and Silhouettes
The drawing technique of creating shapes using outlines or silhouettes is a fundamental method in both traditional and digital art. It focuses on the external boundary of a subject without detailing the internal features or textures. This technique can be broken down into two key components:
1. Contour Drawing: This technique involves outlining a subject without any shading. The focus is solely on the shape itself. This technique is primarily concerned with the outer edge of a subject or object. Below are the detailed steps to employ this technique:
a. Observation: Begin by closely observing the subject.
b. Line Quality: Use a continuous line without lifting the pencil off the paper. The line can vary in thickness and darkness to imply depth or importance.
c. Detail Avoidance: Contour drawings do not include internal details or textures, unlike detailed sketches. Only the edges are outlined.
d. Variation: Blind contour drawing is a variation where the artist looks only at the subject, not the paper, to train eye-hand coordination and observation skills.
"Random Shapes" by ART005A student, Luis Lopez, is used with permission.
2. Silhouette Drawing: This type of drawing involves creating a solid shape representing the subject. Unlike contour drawing, it does not just outline the edges but fills the shape completely, usually with a single color or shade. Below are the detailed steps to employ this technique:
a. Lighting and Contrast: The subject is often backlit, focusing on the shape rather than the details. The silhouette is typically a dark shape against a lighter background.
b. Simplification: The technique simplifies the subject to its most basic form, eliminating all internal details.
c. Dramatic Effect: Silhouettes are often used for dramatic or moody effects, emphasizing the outline over texture, color, or tone.
"Silhouette of a Cloud" by Kristen R. Kennedy.
Contour and silhouette drawings require a keen sense of observation and an understanding of the subject's form. These techniques are particularly effective in studying shapes and forms, creating striking compositions, and conveying visual stories with minimalistic yet powerful lines and shapes. They are widely used in various art forms, including illustration, graphic design, and portraiture.
Shape and Value
Understanding how light interacts with objects is fundamental in achieving realism and depth in drawings. The shape and value drawing technique is a methodical approach that emphasizes the manipulation of light and shadow to convey the form and dimensionality of objects effectively. Below are the detailed steps to employ this technique:
1. Selecting the Object and Setting Up Lighting:
a. Choose an object with simple geometric shapes or forms, such as a sphere, cube, or cylinder. These shapes provide clear surfaces for observing light and shadow interactions.
b. Position the object under direct lighting, ideally with a single, strong light source. Direct lighting creates distinct shadows and highlights, facilitating the observation of value changes.
2. Drawing the Shape and Identifying Shadows and Highlights:
a. Outline the basic shape of the object on your drawing surface using light, loose lines.
b. Observe the object carefully to identify areas of shadow and light. Note how the light interacts with different surfaces, resulting in highlights where it directly hits and shadows where it's blocked or reflected.
3. Capturing Value Shapes:
a. Instead of focusing solely on outlines, concentrate on identifying shapes of light and shadow.
b. Utilize your drawing tool to replicate the shapes created by the varying values on the object's surface. Pay attention to the transitions between light and shadow, discerning where values shift gradually or abruptly.
4. Emphasizing Contrast:
a. Enhance the contrasts between light and shadow to accentuate the three-dimensional form of the object.
b. Darken the shadows where they are deepest and intensify the highlights where they catch the most light. This heightened contrast enhances the sense of volume and depth in your drawing.
5. Refinement and Adjustment:
a. Continuously compare your drawing to the object and lighting setup, making necessary adjustments to maintain accuracy and realism.
b. Take your time to refine details, ensuring smooth tonal transitions and adding subtle variations to capture the intricacies of light and shadow. By prioritizing shape and value over mere outlines, this technique enables artists to create drawings that convey depth and realism. Through careful observation and analysis of light and form, artists hone their ability to render objects convincingly under various lighting conditions, enriching their artistic repertoire and visual storytelling capabilities.
Using a Grid for Proportion
When it comes to accurately recreating an image or maintaining proportion in your drawings, using a grid can be an indispensable technique. Below are detailed steps outlining how to effectively employ this method:
1. Overlay a grid on a reference photo:
a. Begin by placing a grid over your reference photo.
b. This grid consists of equally spaced horizontal and vertical lines that divide the image into smaller squares or rectangles. c. The number of lines and the spacing between them will depend on the level of detail in your reference photo and the size of the drawing you intend to create.
2. Transfer the Grid onto the Drawing Surface:
a. On a blank sheet of paper or your chosen drawing surface, replicate the grid from the reference photo.
b. Ensure that the grid on your drawing surface matches the grid on your reference photo in terms of size and proportions.
c. You can do this by measuring the distances between grid lines and replicating them accurately; for example, a ratio of 1:3, 1x1-inch grid lines are upscaled to 3x3-inch grid lines (see example below).
3. Recreate the image square by square:
a. Now, focus on one square of the grid at a time.
b. Analyze the contents of each square in your reference photo and carefully replicate them within the corresponding square on your blank sheet.
c. Pay close attention to the placement of lines, shapes, and details. By breaking down the image into smaller, manageable sections, you can maintain better control over proportions and accuracy.
4. Gradually build up the drawing:
a. As you progress, move from one square to the next, gradually building up your drawing.
b. Continuously compare your drawing to the reference photo to ensure that you're capturing the details and proportions correctly.
c. Adjustments may be necessary as you go along, so remain flexible and attentive to the overall composition.
5. Refine and finalize:
a. Once you have completed the grid-based drawing, take a step back and assess the overall accuracy and likeness to the reference photo.
b. Make any final adjustments or refinements as needed to ensure that the proportions are correct, and the details are faithfully reproduced.
Upscaling Grid Lines
To upscale 1x1 inch grid lines from your reference image to 3x3 inch grid lines for a larger drawing paper size of 18x24 inches, you would follow these steps:
1. Determine the ratio of the new grid size to the original grid size. In this case, the new grid size (3x3 inches) is three times larger than the original grid size (1x1 inch).
2. Multiply the dimensions of the original grid lines by the scaling factor (3 in this case) to obtain the dimensions of the new grid lines.
• For the horizontal dimension: 1 inch * 3 = 3 inches
• For the vertical dimension: 1 inch * 3 = 3 inches
3. Apply the scaled dimensions to your larger paper size (18x24 inches). Divide the dimensions of the paper by the dimensions of the new grid lines to determine the number of grid squares that will fit along each side of the paper.
• For the horizontal dimension: 18 inches / 3 inches = 6 grid squares
• For the vertical dimension: 24 inches / 3 inches = 8 grid squares
Therefore, you would create a grid of 6x8 squares, each measuring 3x3 inches, on your 18x24-inch paper. By using a grid as a guide, you can improve your ability to recreate images with greater precision and proportion, making it a valuable tool for artists of all skill levels.