3 Y DRAWING A CREATIVE PROCESS FRANCIS DK. CHINGARCHITECTURE/ART $39.95 USA SsLS9 CAN | £2299 UK 4 "Drama Paleo ona clear vio. Te soo : renpes Tait ach tire ale : . Understanding. Drawing cannot be detached front seeing ard thinking abode the fundamental nature of the : aulyech matter being represented, i The knowiedge and understanding, ined through drawing from life a, 3 preety erhaaes ging drow rom the imagination, ust 20 ZEAE) roto can be pub neo words, eae canbe made visible in 2 aravting to Promote vival thinking and furbher Ghimulate the ymaginabion. Once what 16 seen or imagined 1 made. wiotble na drawing, the takes on a life of its awn ane communicates graphically, However dloquently or crudely, al? draeinge : opedk to the aye.” From the Preface q Francie DK, Ching ¥ _. [ae o-wnieenenn HTN gazes arcadia LY John Wey Sons, ne are. Pe et ae Go ace: GIN Third Avenue, New York, N.Y, 10138-0012 leone |. Sen ha Wa oP seed BRASS Sms osDRAWING A CREATIVE PROCESS:DRAWING A CREATIVE PROCESS + FRANCIS D.K. CHING naePREFACE Drauing ts0 2 long cotablished ele in the nisial arte, the recording of crento through hnstory, and the developmen of ideae in opr civilization. While vsvall thought & 29 on achicy requiring the ‘kil othe talented fon, drawing 0 a tabural, often apontaneove, human responce, Teople of al gee webinctvely Goalie wile engaged Wi eome otter aotivby, Even young children who deribole with erayoro ard markero of paper or walle draw inburtvely in 30 [Fbort to describe what they see, 12 represen’ whet they know, ahd ta axpress how they feel. Tho mint thie book ie to descrice the vical procces, of draning 26 an acceosible, Saya, produce achnky nhc, ob ite heart, b a create process, Draving 6 wcaly defined 30 Producing a likenoae or representation 9 something by making lines on a surface, The inference ig thab delineation 12 different trom painting and the coloring of surtaceo, While drawing 16 generally linear in nabure, it cam mclude obher pictorial elemento ‘ouch 98 dots and brush abrokeo which gan aleo be cen a6 lines, Whatever form 2 drawing takeo, 1 19 fundamentaly 2 meano of weion ‘and expression. Praming relies on a clear vision, Ib alo reaure thoughts which, meer, builds understanding. Brawing cannot be detached from seeing and thinking aout the fundamental nature of the Subject matter being represented The knowledge and understanding ggined throvah Arawing from life drecty eran Sur aby fa arom from the imaaination. lust a0 thought can be pot inbo norde, ideas can ve made voible i 2 arguing to promote vieval thinking and further stimulaze. the imagination. Once what 18 oeen or imagined 6 made visible ina drawing, the image bakes on a lite of ihe own and communicates graphically, hawover eloquently of crudely, ‘all drawings speak b0 the eye,With worde and images, the book abbempte ta luminabe the interplay H seving, nevalizing, and expressing Shaough dcowng. The aork'e srgonised Ima sequence which veqine with Underetranaing tne process oF DRAWING and the purposes for whnchit-can ve used, The LINE 19 the drawing clement Wack plays a erbeal role in She tormation of cur perceptions 20 well 26 the conotruchon of drawings, Lineo describe SHAPES, the pictorial forme which eetabligh themeclvee a6 images inor yieval field, and by which we organize and identify what we sec, Ge toniey the three dimenoione we expenence in realty, me rm underoband the bechniques which eHecavaly create the ilveion oF DEPTH ona two-dimensional eurface. In drawing out the ideas or concepte we ENVISION, We can more cfechuoly decign aid pian tor wnat doee nob yeb exieb except in the mind's eye. Frnily, the ack of draning Wesel v6 ecen 36 SPECULATION, 2 true design proceoe which kae distinguishing Characteriotico common to ary creative endeavor, The goal 1 to pronde an iustrated vide for anyone inbercobed m using Sraning 90 9 toe br Chovgit and communication. nite purest fore, drawing io accompehed frechand, without the aid of mechanical devices The emphasio io therefore on Frechard Arana with ommple tale 29 the most direct and intuttwve way to expreas our visual thoughte and perceptions, ust 39 we learned to write, freehand drawing skills are acquired and dotcloped by doing. The requires not innate talent nor the fanciest oF toale, bub rather time, patience, and the tallingrces to practice and persevere, Moot important Io bnderatanding the nay perceptve seeing and vival thinking are brought together n the creative process of draming.CONTEN PREFACE. DRAWING PROCESS AND PRODUCT.......... LINE ‘THE ESSENCE OF DRAWING ..... SHAPE THE DEFINITION OF FORM ......... DEPTH THE ART OF ILLUSION ENVISIONING DRAWING FROM IMAGINATION SPECULATION DRAWING AND CREATIVITY. BIBLIOGRAPHY. INDEX .. 157 181 201 205DRAWING PROCESS AND PRODU 1 draw te pate marke ona surface which sraphicaly represen Ye lkenose FP Sonbitng te Pree of tracing Images Ie 3 eiriple, yor power Roman geb of vieual expression. While it 0. army rected 'n ovr sUlity to sce, drawing car rover recroste tho ralicy we coos ib Gan only make vieible our'porceptons of that olker reality and. the nek vstons othe minds op, In the proceso oF raving, we creake 9 separate realty ‘whch porallole our experiences, Buch Grape representabene area vital Wedne of Pecording aur cbsoryations, givng form to what wo visualize, aid Soerduncating our thevghco. and conceptions.THE DRAWING PROC At the hear’ oF all drsnnng 19 an Inboractive prowess # secing, nevalizing, ed eprostng mages, The mange we bee give nee £0 sur diocovery 2 te worlds the images we vioualize, erable eta tame m ited terme and +0 Understand what we sees the Images We draw alow vo ta express and communicate avr thoughts and perceptiono, SEEING Vion 19 the primary sensory channel through which we make contact with our external world, it 1 our beet- developed sense, the furthest reaching, and the one, ne rely on the. moet £0 our day-to-day activities. Further, eur abity t0 ste, provides is with the raw maberial for aur perceptions and ultimately for what ve draw. VISUALIZIN The visual data rocewed by the eye roceeaed, manipulated, and flkere Sy the mind inibe active earch ‘or Brruckare and moaning. The mird’s creates the maseo We, em, and ese are the images ne atbonipe to dran. Dravng @ therefore. more fan a mani ok 96 youl ght process which depends on sur ahiidy not only to eee! but aloo fo vieualce. ioEXPRE In drawing, we make marks on a curface in an attempt te graphically Pepresent a verception 3rd under standing of the outer reality we see andthe inner imagery oF the mind’s eye, Drawing thus ie a ntal means of expression and 3 natural response 40 what we ee and visualize. It creates 2 separate world of images which epdak to the eye. A dranm image becomes park of cur visual world, and any power it hao to express and to communicate relies an our abiliky to 900 the graphic resem- blance te what we know and understand, The clarity of ite meseage and the significatce of the meaning depends ot cur ability to look into the image, read ke strekea, and diecern the: pattern and relationships they Cotablieh,SEEING The ack of seeing 19 a dynamic and crestve procose, ibe copabic of deliy- srg Sal eeimbroal copeion ofthe moving, Chang Wiogde which make bp Soe need herd. “his omift and sophisbicabed processing Fimages beaiig nnn oor ales rocous energy mpit in the form of visible light eitger iba source. or te votlection from illuminated eurtaces. The optice oF the eye form an upsde- Only 2.very emall area of the rekina 16 pmimage of mami ight rays mm capable H debnguching re deta ‘the retina, 2 collection of nerve cells Oureyeo must, therefore combaruall which are an extension of the brain, ‘scan'an oleck and tee environment ko ‘These photosensitive celle pronde a 900 ib mike enbirely. When we. lack at pont-by-point sesesoments oF the something, what we 2ee 19 actually Intenorty of light received, Thie mpub —eqnabructed from 3 rand succesdion te further proceseed by other nerve. Gallo in the retina and moves. dow the optic nerve to the vieual cortex of the brain, where celle extract epecitic featureo of the vsval inputs the location and orientation oF edges, movement, size, and calor, oF interconnected rebinal image, Our eval eystom thve dzee more than ppeouely ghd mechanically ecard the Physica? features of a vidual etimulvs, WP actvely transforms bse sense impressions of ight inka meaningful farms, Ib creates visval perception. ieLh Loonie FoR WATCHING FOR, [LTE MMe oF om] [Movin ventcLes: \ i FeEARCHING FoR, |A PACE INTHE CF LS, What we s¢e 1 largely influenced by our momentary need... SEEING IS SELECTIVE We do nob ove all that we are capable af sezing. We uovally perceive aur world according to preconceived notiane of that ne pepece or believe ba be. ovk there, These perceptsal prejudices make aur lite oimgler and ‘eater: We do riot have to pay full attention t9 each aed every vidal stimulus 30 # seein: tb for the first time each day. Inotead, We can select out only those which provde information pertinent 20 our momentary needs, This expeditious Kind ot oebing leads, honover, to our common use oF Iabels, stereotypical images, and visual cliches,SEEING FROM DIFFERENT VIEWPOINT We all de nob necessarily seo the same ‘thing. The picture in adr head w limiked by air inbehesto and what. we Kron. There may wel be afferent ways oF percowing the same visual semull Sccarding to the kind of formation cy Gach of ve bringe "0 the ack of oo0ing. = Us Ove cutbural erinronment- and the visual experiences of our lifetime alog madity aur perceptimns and teach Ue how to interpret! mht we see. +A botanist, a pamber, and a floret will each see 2 bouquet of Flowers ima different lant,OO sGertan configurations of lince and *Ab times, nhat we percewe doce not: match whab actually enete, a6 when adjacent ‘shapes can lead to.an aminguove shapes, hives, or tonal valuce affect cach obher's perceived qualities. interpretation oF form, 961 the: case ob cauvocal Figures ie SEEING IN CONTEXT » C a ‘There 16 net always 4 obrck ® correspondence between what we. ? see, and what we believe. ne sce, The CX : local environment. oF an obec, 26 well MOLLER-DrER+A+D UPeIDE-Dows T if 2 ts relatimohip t ether obs pace, can influence how we percee tO vbual charactorictics oF Sze, <2 ® < 7 a ve Shope, color, and texture, Parallel oe SUDD: A= Pozo: A= B prs +n the case oF optical illusions, certain configurations oF hnes can fal the: mind's eye into mieperceptions of lenin, cdrvature, and direction.VISUALIZING Despite ke mmpertections, site obill ‘the moot important sense for gathering information about our world Ir loking Bt object, ove vision allawe v2 40 reach ‘ub thraigh apace, ahd trace, tke contour, scan ibe eurfate, feel ita texture, and erqlore to environment. Wore por Bay viown engenders the vou that: that enaifes vs to tranoform meré discovery inko understanding. Je SEEING WITH THE MIND Visual thought lowe ue to abstract, analyze, ard eyntheoize the images we. see. [E19 an eavontial part. of our everyday lifer We think m images when we dewe down a street leaking fr an dddress, search for 2 mining piece oF an a crowded deaktop, oF 906 She talie for a dinner party. In cach of pheoe actinties, we attempt to match the magee we 9ce with the images we ald in the mind’ eye. We aloo think in visual terme when we draw. We do net simply draw what we oe. We deaw our perceptions oF what We: have seen. In drawing what 12 hofere vs, wwe can contours, shapes, and eurtacce, In torning our gaze from this image to the drawing ourtaco, we must hold that Image m memory before making marke whch represent that Image, h9 ne continue te draw, we cycle through 2 procese of scanning the subject, holding Fes image in the mind, and draming. The images we o0e in realty and the ones wwe create on paper are: brought: tagether yn the images we kald in the mind’s ee. 6iON ‘PROPORT: ta The quality a a dranng, therefore, hes 28 much to do with the acoursey oF ovr veal reaphiens and memery 25 the skill of he Hard im transcmbing an image onto 2 surtace, If we ace clearly, we ate better able te retain and implant the image we are seeking firmly m cur mind, and me are thus able 40 draw more convincingly. As 2 drawing emerges on paper, it reveals what we have Seen and how we have perceived te “The dranm image becories 2 separate: reality with a life of ke own which feeds’ back into the mind and becomes pare of eur visual memory. 80 while. drawing benchite from skill im nual perception and thought, the canveree to ala true, In attempting torepresent te images we eee, tre process of drawing stimulates pur Seeing, exorcises our vieual percep fon, 3d helps ve overcome, the unsecing glances which we are accustomed to omg n aur everyday veo, Just 39 significantly, drawing enhances our Bbalty te retain vevsl images in memory. 7DRAWING FROM MEMORY We vse short-term memory when drawing what. we oee before Us The images in our head, however, are nab limited to wht we seen the present. The mind’s eye hoe the unique"Shilty to transcend time and opace, Wt can tranepart vs to otter piacee and present to v2 imagee from the pset Which wore once geen and are row hold only m memory. Hf we can recall and priject these eval memories anke 2 drawing ourtace, we can draw from ‘ection on ove past experiences, 222 BY ENCOURASING ATTENTIVE SEBING, DRAWING REINFORCES VISUAL MEMORY, o ny} (oer Whee we de frm monary we are not pided ty the opbesl rooiBy we ace fotore , bot lather by the quality & the imagée we held in memory. Long. ‘term memory tends io strip from the remembered wage what re vnnecesea") for our presert neede. Drawing from long-term memory therefore. tendo to tmphasize the cosence of thingo and what we know about them rather Bran ak wea ce seon, o mprove our viual memory and enhance: our Blality ta-retain imagen for lator recall, wwe must learn 40 see. attentively a1 prachice drawing whal we eee, 6Ni DRAWING STUDIES Br LEONARDO MA MNCl SS The mind’s aye can aloo present to ve mages of an imnot realty and enabler eo dray proche of an magired = future, (Fie can recall visual memories, wwe can sbotrach nd analyze Shem, 9e6 Ehem ina nen a Parinne Thy new waye, apply prem to now sisatione, ard branstonm chem into new ideas, Thue we can draw cannot yet be boon excopt in the mind's tye, and we can vee these drawings to Simulate and communicate. design pocsibiities tor the future. SSN DRAWING BEYOND THE PRES! ENT When dranng what we ennsion, we are ret limited 12 the perapective views of optical realiky, We oFven draw from an wnaerotarcng'ct what we envision, which can be expressed in ther mayo. In drawing ese Visualieations, we project the imager Inour head onto the drawing our acen As thie image drives aur search on apr, the emerging draging Simultaneously tempers the image In oor head. Porbar thougrts cSne Yomind and are mbegrated into the process of visualization and drawing,EXPRESSING Drawing i9 the omplceb and most direct way of oepreseng our vival thought and perceptions. In drawing, we pull or drag’ a tool across 3 recepbive surface. ‘The moving pornt # the tod leaves tracee of |inee which correspond m shape and structure tothe forme we porcowe in reality of ze in the mind's Gye. There lize beneath the veible lines a3 aranng imped pattern of movement. In the normal dct oF vioval Perceptien, we can read these patterns Snd what they represent. ‘FORME AND SPACE Once > ne 6 drain, ext 282 grate coment, fixed m apace, tut the Kinetic nature Hf tte oreaton contimses oreveal alt to the ae. A lie nob only describes shape and structure, We sleo exprooses the pace, hy am, and cadence nth winch gs draw, if can be bold or delcaters can swell or taper as it rises and falles wt can ve denae or lgptly textured 36 te slope aorves 3 Gekbured ourtacer itetcan read into those quale the skill the hand andthe mbent oF the maker. 20DENSITY AND TEXTURE. VHT AND SHADE, MOVEMENT AND DIRECTION THE EXPRESSIVE QUALITIES OF LINES fe neval charagtervetce of a drawn ine aloo have the power of eusgeotion. They aftord 2 drawkag the unique ability 40 express certain qualities without having a true eimilarity 42 the sunect ib describes, In describing form, 2 dean line, can also express qualities of weight, density, and Surface; in describing space, a line Gan reveal definition and scales in describing light, 2 line can reflect intensity and dispersion; in describing movement, a line can depich pace and rhythm, This ie the opecial charm oF 2 frechand drawing which distinguiohes ib from mechanical dratting ard compuber= generated images, It expresses and Peveale +0 the seeing eye, in the avalty of te Ines and the underlying pattern 2 movement vsed to create, 2 vioval-tactile experiences The porn, ‘the toel ie merely an extencion a the hand that guides (, and the mmind’s eye thab directs ib, im moving aorose 2 surface and delineating a omique and pereonal vision, aiPENCIL on Fen and Inke___. MARKER. [ Charcoal. crayon rpc a v AL SIGNATURES Drawing reqpires the omplost materiale” 3 tod for making mark> anda ourtace fr receving te marks he Zar caaiy draw by dragging 9 ick Shrough She sand, ory rorming 3 linger aereop 2 frosted wincow Fane Fata more durable mage, bores 3 made farety oF drawing hotramenes dralabie. Bach nao ¢ Charactorssbic ein oie hands and when draun Burose 9 part ob face, each Zapoble making marke with cereain vidial signatures Thore are two bread categories oF draning media ~ dry and Wek. Dry tnedia, sien 36 araphive and charccal, — are Posponewe to pressure and the texture of the drawing surface, and capale oF 2 variable line tone ard width. Wet media, such a9 pon and ink grmarkers, are capable of & more free and flo line, of constant opscity and varying primarily m width, the following discussion ‘ill Zacus on representative tools of each type — fe neil ard the pe. Both are familiar, versatile, od reaponcie to the demands of a vatioty oF draming Sechniques and actintios @se the ole of the pol for 2 broader line PENCIL Weed- eased pencils are; mexpensive, capable of 2 variety of otrokes, and an be used t0 blend ard shade a6 well While 2 commen Ne pencil 19 certainly suitable for drawing, the graphite in drawing pencils © # better quality ard avaldble in 2 wider range of grades, from 2H (very bard) through F ard HB near 60 Gry stb The hacer grade of lead can produce Fine, light thee, while the eottor leads hn” render dense, dark lines and tenes. Fon moot freehand drawing, HO, B, and 28 are useful grades. Mitte thn Millie tassel tnt Wi he Wille wile Witt Mth, Mle ele: Mechanical leadheldore are designed to hold individual longthe of lead which are available in a full range of hardness ard thickness. The Shimer leado do rot Feqpire sharpening 29 do the theker ade but they cat enap caaly # appled wth 20 much preseure, Cackon and ebony pencil have brick, ‘0F6, black leads’ whoee bold strokes Sre tonducive to ack, expressve. sketches. Carporter pence are similar but nnth their rectangular leads, one can produce a variety of stroke midehs, FzTHE PEN Fone are capable of producing fluid, opaque, ard permanent Ines. There are Several bypes which are sueable for drawing, Felt, frer, or nylon bp markers came ina vanbky of sizes and tips. Fine fip markere cant make sharp, mcive lites which lead bo preciee, detailed dtanings, Broad-by markets ancovrage belder fines and quck visualizations mith the omision of detail wll Why hl Wa, We te hi: bln wit MMe Wee We. Wt, she Mia, io Fountam pene have 2 smeather, firmer feel A anvenon type sediee nk caréridgee and can sccopt 2 vane werchangcabie. aibo, Weibmg mbe have a firm, rounded bip which can move tasily in all directions, Drawing pots have more, Flexinlity and thus can produce lines oF varying thickness it Fesponse to the pressure one applies while deamng, WN awwEXPERIMEN’ You wl have to discover for yourselt the el ard cayablities of each ool 3nd ike eubalylity for your own purposes, Orly through direct experimentation ah you Kriow for eure what worde and illvebrations attempt te desoribe, Experience 19 the beat teacher since the charachertohic mark # each, tool 1s tranoformed by one’s sense of tauch and the particular cadence oF one’s stroke, Through experimentation, you should come to Know the chromatic values oF lor pencils the toral valves of arcealshicks; the fe endure of conte! crayon; the dense, glossy lines wear erayines the aot, fray el of pactela, In 3 similar manner, working with wer media, you can diecover the recioion of tecincal drafting pens and the fluid, painterly strokes! af a brush dipped in nk. 6COMMUNICA. Inexpressing what we 266 or envision, 3 rainy has the aby toinibgke 2 dual tmesoage. hab te communicates wl [ epond on bow we, n tre normal ack oF ‘naval perception, read the dranangis i les and mberprét. the underlying ' patterns of shapes and soructure. ‘ DEGREES OF ABSTRACTION ae LING SUBJECT MATTER A drawing reprosente and commu A draming of something w never thst - cates what we eee er emptor by ‘thing. le prodicoe ab beet a structiral Calling to mind analogove forms from oaslent, nob a mechanical repralichon the nbmedate ordwtane past. The” of realy, no matter how real t may forme te depicts must therefore have geem, Whether a drawing voters toa 3 graphic simianity or resemblance 22 Specific thing or simply'to 2 goneral what roprosents, vert an oeyect, chaos af things dopands on corkan 3B place, ona visual ideo. hiaual clce whch te venor can Understand — significant details, weaning concert, 2 recognizable point 2 new Pavevalizmg ree -l DRAWING PURTOEES GRAPHIC TREATMENT hat ques 3 dramng meaning ' roe bingy the tape, es grapne. Heatment 2 ee par of the mesoage. Row Something 10 Seon, whak edn 16 toed to oxprone tae nn, wha cchniqsen are emplayed te cnstlize Freimae, how that mage Sompooed sed ngndd Pentax i of then Sepecks quality ar vorcoption an ieberetatng of what i dean We make important chacee, therefore, in selecting \a pot of nem, doing a Certain tool or medium, and employing graphic techmuaues. These haces Srould be based ukimately on the. purpose oa drawing, whether it 6 Tatepresent. what ne sce, to culrwate Visual thought, or te convey graphic information and ideas, 2DRAWING AS REPRESENTATION With representational drannng, we seek. to sowurately record what ne see In reality. The’ drawing of thing we 900 befor’ ve, including the caretul copying a a master’s work, has traditsnall been fundamental training for artists and designers, In thie respect, draning te nat amply a okill bub an casential decipline, Which tame the eye, the mindy and the hand m aczurate acca, Correct perce pei, and the: making oF legible representations, Represenbatunal drawing can alee effectively record our observations for others to ste ard study. There are, rumersus examples of dranings being used in both the aciencee and the arto to illustrate and clarity visual infor mation from the world around ue. These refleck not only the okill of bhe hand, but also the opecitic interests, geebepay and inderstanding oF 1 ihustrator. Unlike photographie suapshote, desu tht Some a ve site ‘epee enrpore, Incrawing, we nave the Unique Sbiity to rsdlote mfarmaton Frolnirrelevant cmcoxt and to focus attention on apecific features or dusleice. With analytical thought and Tfeighs, ne can capture the eSpence HF cbmething and ctinguioh from what tba neh We can noe oynicane Secale and how they he nto an oral pattern. ErAPT RRR TEES OME fs | The ack of drawing and the careful seeing it requires can also enhance aur uideretanang # things By draning something aut, we are vetter able t9 Urderetand vev'al concopte, underlying structural patterns, significant relatienahips, schemetic organizations, and whatever glee We cannot see except in the mind's eye. Drawing aloo mproves ovr visual memory and aids in the recall of past persoptione, The procese of putting Sur visual perceptions down on paper leaves a map of aur impressiona, which can remind uo oF kon something was Seon and interpreted. Ibimpreases Images of what nas memorable on our emery. 2A PUZZLE ReauiRiN A PENCIL, raER, AND VISUAL THOUGHT: Without lifting: eur pecel tom the yeven draw sie Beatie nes thot Come ae DRAWING Visual thinking pervades all human actin We think in woud vers when We rearrange the Furniture in 2 rom, contemplate 2 move nthe qame oF chess, or plan 2 car tripon 2 map. Veval thinking 16 the: essertisl complement to verval theughe inculewating insights, seeing possiblities, raking discoveries, and imagining the Consequences of our ackions. Toward these ends, drawing can aive form bo and clarify oo visual thaughts, seqpence studies for Goermica,toa7 ther tale Acaeee) ISUALIZATION An artist studying yarovs compositions lor a panting, a choreographer orohes~ Tratilg 9 datée sequence or te kage, ard at archcece whegrsting the Sjereme of 2 building” all coe draming® i manner to exprene what Ee tmind visuals and to explore poooide Bibire courses of action Pm This bype of exploratory drawing e pare 9 tke crbothe proceee ai often Spencondad, ‘econ lysed ettectooly Bnd ones way ahoub thngg and einulate and ekporence certam Eooute id attempt econ nake ihe se bones ae annct: oramariy. be sok hy the eye porch re central fe He otablchyeont of shape, form, ard shrocturery @ az “ee dagrams representing dees aur nological evolution. (After Charles Darwin) - sf Design study of diemountable hinges c 600 ther Leonardo Patines) i ee Design studies tr 3 churchin Imatra, Finland, 16% fer Alar Aalto) Both the process of drawing and the- drawn iageo themselves can Stimulate the imagination, further promote the visual thought precess, Bnd encourage a metaphanc way oF thinking. Drawing often allowe us to see abhor things in what we draw, which can lead $0 other pessibilicies. A-senies of exploratory Grawings, even trough done in sequence, can be Seen side by side and Used +0 compare alternatives and generate new ideas. The degree of finish and bechnugue for explordbory drawingo varie wich the tabure of the pve and one's Indvidval way OF workung. Theoe Srawings, howoren are tovaly quick, informs and often personal Wyle te Mendel br eae Sora, they Can prone valuaie maigts eo 38 Vadwidcal®s creatve process. oTRa Sa ted beam® Ge SEE Dp eeu LS lon St ees ‘select lumbor we (SS 8 Foraran O ameneun clear boards lumber EXAMPLES OF DIABKAMS THAT ILLUSTRATE PROCESS, RELATIOVEHIPS, AND PATTERNS OF CHANGE Horizontal Shear DRAWING AS COMMUNICATION All drawings communcate. Representa~ onal drawings render hikenesseo # things for others #9 see ard underatond. Explaratory arauings qve vsibie. farm te me's ideas for athore to consider. Bhi abner araninge ate voed enpliciely to braremic 3 message or £0 convey wdormaton. Drawings are by nature information- rich. IEnould Be difficult t adequately describe with words what a drawing ie Bile to communicate ab 2 glance. Any drawing used te commuricabe must therefore have clarity, ke exper, and Ubilize conventions which are under stood by both presenter and receiver, One of the more common forms oF ‘graphic communication 6 the Jragram= 3 simplified drawing imhbircan dlustedee'9 process a sgt of relationships, or a pattern BF change or arent. Disgrbms ofen pale Sis a cong hich muse ves apne Aualoy Sese remind Seer Ase tos verlocnt. %© pear —<==x CONSTRUCTION DRAWINGS Another bype of graphic communica fons Wl pres cetbton Storage which offer a deagn proposal sthore for their review and evaluation. “Tbe effective, presentation drawing must zoaiot the imagination of others, accurately emulate a posse realty, ard illustrate the consequences oF Fubure evento, More ublhtarian forme oF graphic communication include. design gabtorns snoring arawingo, ard Cechnical illustrations. These are specitic acts oF visual matructions which guide others in the, construction oF 3 design or the tranoformation oF an idea into reality.LINE THE ESSENCE OF DRAWING A line can be concewed 29 a one-dimensional element characterized by its length, bot having no width or depth, Such 3 line dave tet actually geet ically. Yee am ripen perceves ao Ince 2, contowre, ore jocontinuties im plan Bortaca, co, of Foxtte, iv drawing the hage> we 9¢¢ oF envision, we rely primarily on lines bo Vievally communicate shape and form, The Iino theretme existe 29 the apintescential graphic clement of drawing. “ fant ~ rest. Lane = inwaraly animated tension created ay movement. The tno elements ther mbermunging and their combinations ~ develop there own “langusge! nich cannot be attamed aa coLINE We vee gestures te pin gue direction, 3rd te Sescrice shave ahd’ movement. Drowng oa ares erteneion coe geatites. Teetenehe impuleee perind See geetaces wie sown the gem tothe fond frat gudes the moring pont ct a fork. the rbauloing incor nates ore pec pean lng mike 2 2 descrve Gre contours which ommate var nessl world townie ne i Pie. Rime lo oo | The line 18 2 graphic convention which we accept since we, porcenve al Contoure 29 Ince of contrast, Theee conbraste are the discontinuities we 920.10 plane, eurtace, color, or bexture, ust'8 these lings are eribical te gue perception of the visible worlds they are ebsential in representing what we see or envisin' m2 araving. Contgur lines fret cerve te separate one, ching fram another. In limibing and deFining the edges & things, contour linee also describe thar snape,, if acon 3 His, the pealting mages are smply bwe-dimorsionel elhovettes. When used in combination, however, contour ines can Yoain to deacrive: three-dimensional farm.EXPRESSIVE LINES Lines have vieual qualibiee of ohape, tone, texture, direction, and move rent, which erable them to express qualities of form and opace.. Used in series, lines. can describe the tonal aed Focal valuco of surtaceo: As rely graphic elements, lines can Geo betome stylized and foren decoratve pattems nith 2 ide their own, REGULATING LINES Ina drawing, there may alga exit lines whose presence 6 felt but nat eon. In draning what we 90e before Us, we develop these requating hnes in ander to explore, qve measure %2, and structure eur’perceptions, In 2r3wing what we ehvision, we vse this Saine “ype of seructural lines 26.2 Frameitork on which we ean develap the image con in tne minds eyesDRAWING LINES Oranng reapires the some eye-mind- hand coorination 38 than required for writitg words on paver. And ‘ike writing, Be datintely-2 sellwhich can be ‘equired, For most of ve, a6 children, learning to draw the lethere of the alprabet wap intial difficult, laborous, ard fin. We became proficient 2b writin because of the repelibione we pero: grer along period SF time. Now, We ae sble to traneform thoughts into words on payer quickly aImeet tranoparently, 50 uth dfawing, practice over an extended porad of time "6 essential. seezing the drawiig tol too Sony cdaestovaar, Sra mecha taxed hand, holy, ated ars oF the drawing instrament, Using the writ, elbow, and shyulder 99 pot parts, we can campenastefor the rabural curvature of mg ines, BEGINNING EXERCISES our First gral learning ta dra ie to pegure cra araning nen the Tclayngonorco are intend Yo help you develop skill and confidence in line ‘drawing, Approach them with a relaxed bedy ard mina. Ao you dram, become conscious oF and senottve ig haw you iid the draning nakrament, th presoure min which you mark's surtacey and the quality of the drawn mark. Feel the surtace torture and the pont oF the drawing tool 29 1b glides actvee ‘the surtace, leaving a trace oF the medium behind ie, Drawing 6 39 much 3 visual thought Gece jb 9 goal a. a ont crotore, develop he ailty fo judge hat we draw 20 wo draw t. Draw oren, Gontsnuein ines, and evauate e9ch ine Sir ite straghtnees ar eared carrature. Drawing larcky can rene n nacraly ed Ie eee ne Ferd e drm 29 pordolume, Compensate ly Aramag Sony and deliorabely, Dornct rave dr draw wor a prevovely drawn fine, bot always abrve or ncremental improverent oer the last ine drawPARALLEL LINES: Draw vertical and horizontal serice 2 parallel ines about Ya ch apart From each other Caretully check each line for straightness and even opacing, and strive to make cach line straighter than the last. Use premously drawn lines and the edges of the yapor 2 visual guides eanbam UNES: Place. ten doe Yandom on a sheet 0 paper Then draw Sbraight lites which domect one ports with a more distant one. Draw in all directions without moving your baby position relate to bee sheet, Do noe Eoeve the Ineo to meet the porto, # you mae, ny again. CARCULAR SPIRALS: From the center paint of a cheek of paper, draw 2 arcular Spral, Ao ib opirale outward, the ine. Dhauld remain parallel be the pronove ring, with even spacing between each rma, Draw colo both clockwiee and cosrterclockwiee, OIRGLES: Practice, Aramng arow oF Gircles between guidelines 2 to? inche> apart. Draw with on even, continvous, ircvlar motion 9 that he curvature of the Ime ie emaota, Avo elliptical sirapea, I a eimilar manner, draw rows oF beth omalier and langer circles,pour | | nmrenmetar|ons wma cour [reese PATTERNS oF [NES REPRESENT? RESPONDING TO DRAWN LINES. The preceding exerciocs gare you practice indfonig a gree a ings sctrng toa sob A motructions, You wore first required to veusize according be the verbal directives ard then 10 dram. Now we mbroduce the idea of draming in response to lines which already oxiob, Before we bean bo dran, we face a blank sheet at paper We morcome! the empiincss mith the Firet Ime we dram. From that pont on, we are drawing net only im reoponse, te what we envision oF 222 out there, but aleo ta the lmeo which already exist on paper. Ae oon 25 they are drawn, they have. 2 ke of their own ~ 3 separate reality bo which we can respond, Our voual aystom seske pattomme that make Sonne’ thos we bond’te complete ty pabtern Which vo incomplete Solin to whist wo keow tow pact experienc Me anticipate 25 We visualize. Each successive line in a drawing therefore represents 3 entmorng ovarch forte Campion of 3 meaningful pattern,Warr LINES: CURVE LINES wrTH FONTS CIRCULAR, OBSTACLES GEOMETRIC OBSTACLES COMPLETING THE IMAGE, In these exercises, the intention 1 42 have you reopond to nhat already exobo 3s partial mages, and then complete he images according te your response. Each of vo may respond aiferently, and theretore the mares ve create may differ. Novorthelese, the practice im experiencing She mterachion oF fecitay wouaieng, and drawing mith A D-DIMENSIONAL FORM: Draw continuous lines From one ove the shect to the other: Polow the pattern yw see extablished by the Sesting lines and work arsued ebstaclee 3 you mect thon, be fry to respond 36 wall to the mage 28 ib evelroe ard bransforms teoelt with each successive lime you draw, aAs agraphic clement, 2 contour Ine 6 2 one mensional trace on 3 two-dmensional plane, eb thie the mesh efficient graphic means we have m drawing to represent Grree-dmensional forms in space, A contour line first marks off something from what tie nat ard gives it shaye, But tt doco more than describe. the auvline lohich eimeumscribes an abject. I can slo Cloenty descnbe qualties of form NS CONTOUR DRAWING Irena dang, ne drat fm oben on. We begin by lokeng cacefuly ab wha we'ee before v8. Thon te undo foke the process of scanning cach cantaur, holding Brimage of that line, voualizing te on porer, and draning that conbave, The gal i la deve ab an accurave correspondence ebweon the ee, 20 it Fallows the contours of a form, and the hand, 26 t draws the lines which represent thoee contoura Contour drawing thvs requires accurate ahservation, eenoteinty to qualities oF form, and shill n visualizing and drawing Ineo which graphically represents tase: qualities, Ie suppresses the eymbohe Abebractim we normaly vse to represent things. Instead, ic compele vo to vbiize our tactile 20 well 26 aur nisual sone, ard be 200 both the whole and ibe detaile simultaneously. @Draw 28 # you were touching cach contour with the pen oF pencil point. FOLLOWING THE EYE Santrdronns bat dn ha pit wall-okarponed pencil ov fine folb-Lp apalle of producing a ofary, mciowe ie, Searong € any conventone point im what we deer begin drawing tho contours. Concentrate on having the hard follow the path the eyes bake 26 they trace ‘the undulations and indentations of the edges oF a form, breaks in plane, 3nd oi) cant changes in val, texture, 2rd color. Reepend 20 tach and ever} ortace modolstion with eqwalere hard mmevorerto You may have te stop periadically a6 you Tense Ne ie Copal et taking these stopping poms too nevoue. Keap one pencil or pen it conack with the paper surface. Draw slowly and detikerately, and magne the arang tele n cntace wilh the suiged ao ovdene Bonet retrace cit? lines oh erase them, Most impor tantly, corat lot the hand move Faster ho oe con oe mone pase mich the eye and observe carefully, BThe slow and delberate proceso of caour rounrg compele ve 1 abe with earity and securely, Bicrow a comnnomg represen Eaton sm th contac, we ae sxderstand tilly tre rabure of form and to qualties of structure and qromcary, weight and deveity, mazorial a bowtue DEVELOPING VISUAL ACUIT While contour dramng develops keenness oF perception, visual ‘edity 9.2 Function of scale and distancen The more dearly we seo, o curve, the more we wll eet aware os forme debater the thicknces of its material, how © tume or bends around 2 carrer, haw materiale meet. and are assembled or constructed, When confronted mith a myriad of such details, we must Judge the relative significance. each detail, and draw only Ghose, contours which aré arodlubely edoential for the comprehen Sian and representation of the formCintapping waters dares contour leo ad fora tree nck “Steve to dPferontiate bard cornare and edges from soft vendo and folde. Ab certain painbe, auch a8 breaks in Plance or fade actrees contours, 2 Contour line, may be interrupted by another contour or dieappear. Ab ‘these junctures, only a rmimmum amouit of line wnay be neceseary to ‘how the epecihic nabure of the form, Experiment with how discontinuities, std selectively, can exprese these pslitie of form, Steve for economy Fine,EXPRESSIVE LINES Avingle line weight we all that 1 required Bote: Sedng, By nec fe touch, medium, and aurkace used to create tt, however, a Ine. alea hae inherent Galites of width, denoty, texbure, Srey, ond rbjenmn These gushes enable 2 contavr ine to ¥0 more expressive and communicate 2 brvader rage oF 2 form's qualbies.TEXTURE “The ayaities of form are mterrelated. In Darryle camay one ay, we teceasaniy ifeice ob exprosnon bed percotion ober sais 20 weil 7HATCHING BWW MODELING LINES There are eubbletice of form which cannot be rendered with a single contaur line. % convey these. complexibies of form, texture, and material, we can use several typeo af modeling lines. val} CROSS HATCHING Hatching refers to a sence of closely spaced parallel lines, Cross hatching Involves ‘layering two sete oF hatched linee for greater density and benal valve Seribbling 9 a network of more tandem, multidirectional lmes whose neu) Lexture will vary according to the line. bechnique used, In all capes, one must be conscious oF the tonal vdve being rendered aed be careF net te obeure what 16 cesen- Bally 2 line technique, ®<< SN Ary series of hatched linee mill create With texture and contour, the series a iieval pattern, IF epaced close. of lines can convey material charac- enough together the lines lose their Eeristice, auch a6 tre grain cF wood individuality and merge t2 form texture, the marbling of stone, ar the weaver With shape and direction, they can & fabric. model 2 form and render eubbicties OF light and shade,GESTURE DRAWING With experience mn seeing ard Fluency in rorreschting the qualities of forms ne Ugh pred trom’ the deiborate hatore octave drawing bo the spontaneity ¢ geature drawing, A sigieconbnodye ind org multiplet of been lines ore drawn frody and qely sorope 3 oheck 35 we ecan'a subject and praeck ox perceptim onto paper, Niteran anonmrnse | Sera zermees | drawing The nba, mine nature gesture iraying requires 2 Unity of sceind, Seana! acd drawing, The ek lee 20 gestures we draw vsually indicate the — bverall form, and thon significant details are woven into. the structure, The Imes may ‘allow the contours oF the abjeck 9 run counter t them. Variztions im pressure along with the direction OF the lmee. can imply volume, The devaity of the lines car reveal where we See significant details or what we moh te omphasize,REGULATING LINES We have seen how line are able to ofFecevely describe poberal qualiies a form, tonal Ya, and torture. Linco con also play 3 More apobract, comsirustwe rele. in Peguiating the seructural and the spatial Peationehips of forme in 3 drawing. Linee pe nclolted or the papese site they ratorally and eHcently express icngth, direcbon, and moveinent, lerevory] co oS Regulating neg Issued the aire, shape, ard 6 ge, ard thus Gonteal the eorall papertional Platine hive of bth form and apacce, These Gre straghe, traroyaront lines which are net limited by the boundaries oF things, They can cub through forme and exterd through 9pace 39 they ink, organize, and que dimension to the vahous Clements 3 araning, a+ PROPORTION The casieet neval pdaments to make initially are the horizontal and verbical relationships which can mezaure dimensiona, darments, ard offseto, Diagonal and tangential relationships béincon sinificant pots of a form can then ve voed te augment sna verity these intial jodgment’s, Regulating nes are- often tentative and lightly drawn, They represent vigual Judqmente te be confirmed of adwueted. They can be removed, bute they may alee remain 20 part of the final drawing n otder fo show the working process by which the drawing wae made,ORGANIZING THE DRAWING SURFACE SPATIAL RELATIONSHIPS: Remlating neo can eyprose the opal relationshige among the conot:tuent dlomente of 2 drawing compesition, These lines may nat ve neible to the a6, bi thew presence i felt 26 they pronde 2 veual framework on which the basic campononte of 2 drawing con be shaped and organized, DEFINING A PATHWAY FoR THE BYE. 20 regulating Inco represent veckers ‘the perceptual forces which lead the aye 20 scane 2 drawing, They define. 2 structural onganizabian Yor, and Serve 29.3 visivle map, the pointe af emphesie which must be balanced in ‘ay dtawing comproition, Th oF %DeFre BFA on os wr movement cee ee MERE TT Tg T | IE x ey | om od fo] C Support f 4 Lines easily fare grde which can regulate seructura, spatial, ard contextual rastonshipe pe be concerts So ST The organizing powor requatin linee leads £6 S mere abotract tyre Paraming the cisgram-= wherein fines con define the boundaries oF fields, onder both structural and spor relanonshing ard ave Shape to both sbotract ond-petoral contepte. @6SHAPE ” THE DEFINITION OF FORM «GD The role of the line naturally extende from describig the contoore of forme io the definition ef Figures m 2 veual Feld. Jur perception of the boundary lines. which Biting, oe ng fror grater ede ie aur recognition oF share. Ibs by shape that | fe dentlly, understart, and seprecitve. the Forms high make up obr veual world. In drawing, theretore,| the pattern of lines that we vse 40 portray okects in real space muet,'on a two-dimenoiaial surface, convey the shapes a things, 57Aer Hokuea” CALLIGRAPHIC LINES The utmate oxpreasien of the ine Uraming te calpaphy. Caligropy telere pretariy tb Bogart novavmt- Way te Ter, cwtocne rate te linear strikes canoe fe ved th peterial representation. Wiehe Rekible po oa yal poited brash that resbonde tthe proooure of the fond ged the ravement of the sr a Wate dt wrncncen me ton express the cobential quatiies o tori m an coment mance a‘The lines we see in vieual Space correspond -~ 4 Beadiecornibe changes in orl value,” yo i i color, texture, and pattern, These linee 2 f oF contrast, when sharp and dietinct $ Jf enough, enable ve to perceive ect - yy forms in epace and te distinguidh one <7] Saeco thing from snothon = fon “object: form Spatial form Woon we dra we woe able nas to o ‘asent the lince of contrast we Perceve Theoe drawn ines depen Sereeee Eipcoral nay the olage ad tntaura OF objeck- and spatial forms, They enclose a visually perceived ares and show re ane Beains ga anette apparently ero. i 60 dong, they ave Tope to the described areas. 50L_lvawing based on a photograph by Ansel Adamo Shape to 3 tww-dimensional concept oF a fe concsined yee ont bowiates and ag ot Frm a agger veugl Flds Thus shape relioe an the line that describes its odge or the contrast of tonal value, olor, or texture that eccure slong that edge. by Ing tat defines 2 shape om one oule cite contour simulbanzovaly carves out space on the other side ches path. A shape oan never ont ‘lone, e can only ve geen im relation to other shapes or the epace. surrounding 1.Fora ohape to he recognizable, t must be scon 36.2 figure. Ab the rtootald oF orcepton, ne begin to ace objects 26 igure opanet 2 background: thie relationship botncen Agure and back Ground 12 9h esvential concept in bre felony ta naval wry cast Bis dtlreicion neni cco t rough a fy. A figure with ono emerges from 2 backgrvond when t has certain charactenot.ce, ITIVE AND NEGATIVE / ° = By A L. The contour line which bordere 2 figure appears ta belong ta ib rather than to HE surrounding background, i the Figure appears to be closer and the Vackgroind tore dstant, 2. the figure appears to be a self- contained object While be vack= ground dace hat. Ab the figure appeare to be in Front of a continuous backgrourd. 61. The figure appeare to be wore solid on evbstantial than ke vackground, e G. the figure aepeare to domnate ite field and be more memorable 32 a meval mage A figure. which can be acon rolabwely cleatly against a background v0 said 60 have 2 positive shape. By comparieon, the Figire’s vackground appears to ve shapelees, and ie oad te have 3 negative shape, No part of 3 veval Fld, howorer, is broly inert oF reqabiven Both positive and negative shapes are ihherdoponderty they muse Cooxiot and link bogetner be form a Uinhed nage, We ret aee the whale wile amuttoneeusly percewing the parce, in proper relatonstip so Vach deel sith the Wade aiDRAWING SHAPES Contour drawing 1s 3 very deliberate process which emphasizes accurate abeorvaton and perception. AB We carefully draw contour lines im sequence, one aH anather, we dete the per Geived shapes of forme, Since these forme are rarmally seen 26 the pesicwe figures m aur visual Field, these contour hikes wil naturally define the positive shapes of 2 drawing composition. THE SHAPE OF NEGATIVE SPACE THE SHATE OF SHADOWS Ao we draw the edges of posibve shapes, we anould soe ve stutoly wave of the negative shares we are cresting, While ne normally perceive opatial vads a6 having no suvetance, chey ohare the same boundaries. 26'the forma they envelop. Indrawing, aloo, negative, spaces share the contove lines that dotine the edges of pootive shapes,IINTERLCCKING AND OVERLAPPING SHAPES IN THE LANDSCAPE In both seeing and drawing, we should que the oame attention #9 the shaves Pregotve spaces 38 ne dete pootare shapes of forme. Since negate Shapes do nob always haye the oaelly Fecognicable qualitioe oF positive shapes, they can be seen nly we make tho etic THE SHURE OF INTERIOR SrAce As we drgw a line, we should be conscious nat only # where if keqins and endo, bye aloo of kon t moves, and the shapes ie carves along the may. Each line lead to another, and then another and arobhen, thereey creating beth pooitive and negative shapes in space,PROPORTION AND SCALE As we become more sensitive to the nique veual characbemetice oF what we see and draw, we onauld ret lose Sight oF the total imager To enoure- things remain im their proper place and relationship to one another to avad making mauntaine ovt of molehillo — We mubt pay attention te proportion and scale. Propartion 2 matter of ratios, and ratio is the relationship between any tno parte oF a whole, ar between ary art and the whale, Inoneina, we ohould Perceive. the proportimal relationships Wine eps or prooron pe and chap, Corveapondingy, by vblizing F coherent: ooree ratte our drawings, weare able fe convey 2 sense ab amity wile sllonieg ter avarsrky of shape, colon and texture, JADSEOD 192 Templeany of the things we vee on 3 daily base are sized bo ou body dimenoiona ere Building clemonts are scaled 4 each other 48 well a6 the human body, fea avira Vi ( JH} “wan Man Related te proportion 1 the idea of sale, Seale refere te apparent size how bg or small we Felieve someting tobe, Inarder te measure ocale, we must have something oF known size 40 Which we can refer. Images ct people. are commonly used m this rtanner 0 eetablish haw large or omall other thinge are. This comparison ie based on our far vary nibh our om bady dimensions, and the reoult can make the thing we Sre measuming seam large a oral In a similar manner, we can also use a9 2 measuring standard something whose size 19 fariar to Ua, ard which, by comparison, can make Us Feel ble ar little,' | Bl al Yea fae perpendslor Pinel ae Alige| tips of papel 3nd fader mde edo of ine With the unt length, the relative lengbhe o other Ince can ke mesoured. SIGHTING TECHNIQUES There are several techniques which can holp vo make vival jgmate and anoure that things have proper shape Bdmerneral ebohie M ete Yenient one 20 veqin with ta voe 9 perl orcthar drawing msbeument 39 9 noual Suing dence With the penal hold oub at arm’ length, na plane parallel with our eyes and perpendicular to our Iie o aie, we coh qauge the relate lengthe dnd angles 9 fea, To make 2 linear measurement, we align the porcil’s tip mith one end oF a line we see and use our thumb te mark the ether ands We thon aie the penoll 42 ancther line: and, using the first measurement 25.4 unt of longeh, measure the second line's relative length, We normally vse a shorter ine segment to eabablish the unit of measurement: 60 that other line seqments can be multiples of that unit,Alga perl with | aioe ine Leal beet Molel Wart alge fe eh makes with an aosumed horizontal or vertical line. — r Method 2: Wald the peacl honzantally vertically ard vevalze the angie ‘Eimakeo mth sp ie I addrhon te mea ‘sung lengehe and angles, the pencil can Fe beed to qauge align- ments and the shapes oF negative apace, Ina omalar manner, ne gan vee the orci held ob arm longtt to goune She orale ab nhich a he devabes from the horizontal or vertel. Holding the peveil etter horiantaly or verticals Shu aligning b mth one ond oP angled fnew op gual ae te ie hetueen the Ine and the pencil The arauler mexeuremont can then be frdnotorred to 9 draunng vowng the chien the sco per se foncoital or verbcal teterence Ineo. oFa é #1 @ 1 mc unit lem, how ma long i line ® # Line @ ? Line unite A ‘ D e before we can exeecise wnsval dgment, we nude be able to ove shape and structure. With practice, ne con rler ta adge proportienal relahonsips. projech unie lengths, squares, even 4ride over what we sce in #0 a sare, nha proverton 2 eae BC Aelinges 6 det VISUAL JUDGMENTS. “The ability tw estimate Amensional rela tionships i 3b the root o all nective: arannng. With training and experience, he gan telze be pronave eabng techniques withaot an external device 00h 36 a rer or pencil. Instead, we Gan develop She ablity to measure the dimensions af a form ana gauge rela- tionships mith cur eyes alone. odo thus, we must: be able 4a hold m aur mind's eye 2 veval measuring obck. Wecan ther praect thie wage over sther aspects of hab we are drawing, When raking purely eal Juamentay 2 Important that any prelimimany 2seump- Boe be crooked Bpainct whee we actually see. When drawing from memory, wo must be avle to evaluate What We have drain ight oF what me. want te convey, 4 If lince a:b and Bc are extended, mith what other porte are they aligned ¢+ Vor the dmaroune grey aon, ameve te Sraning to tro rot She requires bate ardncing ad ruluphing the ba ines aeesdy Tranny 304 then proecting these dimcndiona pghores ashe conplcke te desning, Waar pee try 7 complete ore nase irajecbing the gad shone ee deanna’ blow. ‘To draw a long nein correct proportion 123 shorter ome, we can superimpose: Unite af the shaver line ever the longer one m an additive manner. With the technique, small orrore can accumulate and result in 2 Langer ‘grror ia bhe overall length oF 3 line. Ibis therefore necessary to continually check the overall measurement 22 we proceed to add units, lin contrasb to the previous additive approach, we can begn with 2 widle mesourement ard oubdivide ié mea a umber of equal parts. The advantage OF this method & that the larger relahonchizs are mambained oven 3 We divide them into omaller parts. “Thue, large grrore can be minimized. This 1 9 veetul aki m drawing 3 series oF ropobitive clemants, ¢rdinding an clement on 3 proportional hse, |ORGANIZING SHAPES As me vegn a dram, we face decison 36 Chow large te mage wil ba whore ib wil he potioned, 300 nat oneresbion Wil have Theat jidgmente ae made relate tote sey shape, sed cages oF tre eutace near draning on, We see Fave todetermine whet wee mclsed ed what mio fom what ne bee 0 Sera Tose esone wl fect e ay ne pereve the reestems fiero ‘pond Valatunehpo bekwech poorive Sid negstwe shapes, & 4 FIGURE+ GROUND RELATIONSHIPS When a figure floats, wolated 12 sea oF empty opace, ibe presence 10 empna- Sed) th type & figures around relationship 19 easy be see. The figure stando wt clearly 28 2 positive ahaye ‘againeb an empey, diffuse, shapeleos rackground. When 3 figure crowds ite veckarourd fld or overlaye other figures inike field, beans to organize the sunreurding spaces nto récoqnieable ohapes, A ore meracke and wear ated hqure-ground relabinship develops. oust wovoment ccuro between positive and negative shapes and the Resulting Pension createo visual interest,When figure and background both have positive shape qualivice, then the faure- ground relacionahip becomes ambiguous. intially, we may see certain shapes 20 figures: Then, mich a she in view oF yidorscandingy wemay s¢¢ what rmenly were background shapes 26 the posleive figures, i Thio ambiguous relationehip between posite and neqative shapes can be deairale at some tes and istracting 2¢ others, depending onthe purpose fra dean, Whatever ambiguity exets should be mbentiansl, rob sccidental.A SEARCH FOR PATTERN What we oce and draw often consisto oF a camplex composition oF lines and shape, There may exist net one but 3 whale sones OF inborrClated 90h oF hore ground patterns. How do we make sense oF Such a complex veual Feld? We see nee Individal shapes, but ratrer a patcorn oF relabionghips, According to the Geeealt theory oF perception, we tend to oimelity what weobe, organizing complex etimuli Into simpler, more holistic patterns. hia grouping can occur according be certain principles. * pa, = Seis may Ans iN » ea SIMILARITY — We bond to group things which have, some neval characeeristio in common, bush 39 3 omilarity of shape, aize, colar, anentation, or dota. aa a ae PROXIMITY We tend ke aroup those elements which are Close tanetier, to the exclveien oF thooe which are farther away. %x 4 « eis P| = = iQ) os) =), Ne tend te group elemenbo which ‘These perceptual tendencies lead ve continue along the same line or in tise ‘bo 502 the relationships vetneen the same direction, varius clemente of a\compooivion, these relationships form a relatively regular ahape-pattern, then they can orbanse 2 corglen compotion ita 2 perceptually simpler and mare comi- Prohensidte wide» The parle of Arouping thie hope promote the Gocxistence of unity, variety, and visual richness in 3 dranang, 6CLOSURE: 4 seaxcy rox staziuity Closure rekore to the bendensy for an Gen 2 pattorn of dete, vital nes apen or incomplete Figure to be acon 3 connect the paints in sich a way that a Pit were a dosed or complete and regular, obable shape reaulbo, these ‘tshle form. lines are similar to the ones that complete a regular shape even when Pot hat Shape ve adden the Incomplete figures tend oo comple Lremacives sceordig vo simply and regulary of form ‘There are situations where even a line doe not in fact exist, the mindie aye crestze the Ime in ar abtempe to reqularize 2 shape and make i6 woible, ‘These seen vub nonexistent lines are illusory and have no physical aero. We eee thom im visual areas which are completely hemogencous,One can interpret tae image, deneed by poycholegiet Joseph Jastrow ih 1900, co 4e either 2 duck ov a rabbi. 4 what doyou see mn thio mage # PROJECTION + 4 seaccu ror Meaning The grouping principles of eimilarity, proximity, conbinurty, and closure eperabe withovt regard for representational meaning. Thay aid us wp organizing even che mosh abovract of patterns. Since the rnind’s aye constantly searches for meaning in what we Sze, we aieg bend t2 group lines and shapes into Familiar images. Merely loking at 38 apparently amorphous vattern can sometimes bringlte a prepared, interested, and searching mind 2 more specitie mage. nite search for meaning, the minds peteinen nd pels ees Inthvsillusion deoigned by prycholeaiet Ea ponngin 1900 one canoe ether the profile of 2 young woman or the head of bn alder soinan. a 9 ee 2t fp: “Lomret. ree Bene tr Stuay which, altheugh /¢ may seem eral and ‘rovecrenet’s 9 varive inverttiong, 2 Crome, vob Wana thas is, when you lack 2t epg OO Ges a wall spotted wish Stains ‘nace I you may discover a resemblance to various landscapes, beavtified with mountains, rivers, rooks, trees. Or aggin you may se DATTLES and figures m action, OR STRANGE FACES AND COSTUMES and an endless variety of objects which you could reduce to complete and wall known forms, Axo tHese are: OF BELLS IN WHOSE JAN IMagine.” Leonardo da irc PEAS ON SICH WALLS CoNFUAEDLY, UKE THE SOUND “ou aay FD ani” NAME Of WoRO wou cHoDEE TO «hl sougee od lene of asatons Having what a front ot ego soy iy ind Pt jo re ar Eto sso” her | de oh 400; nd ay “Ya ean sore but by watching Boe ipso “the ” ag: Bors, 2000 only wat thé mind 16 prepared ‘to comprehend. Kopertsbn vavied.SHAPE AND SURFACE In addition to the contour lines which ane essentaal for te deimeation, » shape also 139 ourface qualicies of material, olor, and bextsore: In drawing, the may we oxprese cheve quaities Io thraugh the rendering of total valves. Those tonal valves, in ern can serve fo describe toxtires vey mod ard re, TONAL VALUES ‘he Ime techmiquen of hatching, croee- hatching, and atribeing are bre primary mmeane mn which we con render tonal rites, ige tral ave exprenned primariy Sheougn the velacve proper Glan of light fo dark areas, bre mooe important chargcseronics these Lelpmaves ore Bre apscing and density te frear strokes wedThe primary purpose of rendering tral valise to ty differentiate one shape ‘Seom another. rendering tones, the visual qualivies of tae strokes used = their longei, conbour, and direction — will inherently convey the nature oF 2 eur face's mavoral and vorturey Whether emosth or rough, hard or boke, poled or dull We should always be anare oF the nterrelabionship of fore and texture, Any rendering of texture simulbaneouely Produces 2 tonal value. Inmost careo, Dhue tonal value io wore ertical Shan texture to the represerteation of light, ehade, and the way they model form’ in space, 7%LIGHT AND SHADE In rendering tonal values, we ratural teed t consider iret the local valu oa form's surfaces, Lecal valves describe how hight oF dark a surtace’s material and calor actually are. Local Values, however, are modified by the ettect oF light, shade, and shadow, Inrenderig tonal values, we should Bttempt £6 communicate thie inter play oF lecal value, light, and shade. Contrasting tonal values convey the way light and chade. model fore, The cftects of light on form cannot exist imthavt the cantrastng, darker ylien o shaded surtacee and the onadowe they cat. Since me draw primarily with dark media on light surtaces, we define areze oF shade and shadow nan attempe to illommate. sreze oF igh,SHARP ¥5, ROUNDED conweRs The way ight 1 reflected From a form's surfaces, creating areze of hight, shade, and shadow, gives Us impertart clues to its tieee-dimensional qualities. Light, however, 1o nat statin Somebines Harel, sometimes diffuse, the quality of 3 light oauree ie reflected m the nay ilfominsece the form and porvades the apace through which we sce the form, How the edges sf 2 shape are rendered arrays naratare of 2 ome geomet Clearly delineated coneracte of valve imply sharp edgeo, abrupt tuene ab corners, and ‘Ae illumination of 3 bright, direct ligt, oradval tonal changes, on the gther hand, convey b0°> edges, gontly curving torre, and the llomimation of maireck lignt. Cy‘ALTER SOT VALUE PATTERNS: As we develop the tonal values & the. shapeo in3 drawing, ne murt be dandemned with thet overall pabern and composition. The organizational pattern of tonal values can clarity a Srawina's complenity, articulate tee shares, make ts figire-qraind elatonohipe wore vivid, and create 3 sense f space and depth, Thus, we ‘shold alnays develop a strategy “or the range, placement, and proportion o tonal valves in 3 daw ing VES FOR COMPOSING LIGHT, MEDIUM, AND DARK VALUES a Ibis important to note that we porcene tonal values and texvore relative to thew conto. aoe qualities oan be emphasized or dilvbed depending on the relative charachenabice of agacent surfacen For example, 3 igh ton direct contrast mith dark tonee will appear lighter than when contrasted mnie ighter cones. Amedium bocture wl appear coarse. when contrasted witht Bomasch ourface, but finer when next bois coarser textre. aHigh KEY MEDIUM KEY The range and pattern of tonal values influence the weight, valance, and harmony of 3 arawing’s compsation. Shang conbraste in Value vividly define and attract attention te oliapes mn opace, and create 2 eense of drama. A broad range oF tonal values, with wbormediabe Vallee provising 2 transition from the. lightcet to the darkest, are visually ache and animated. Closely related Values tend to be more quiet. Law KEY The relative proportion of lah aad dark valuze and their placement im a compooition provide a tonal key for 3 draining. A medium range oF valves be an inherent fecling of harmony and Valance. A predeminaney ight range of valuce can convey delicacy, elegance, and 3 sense of illuminating ight. A moderately dark valve range co” ave 2 dramng,'a senee oP heaviness Prom Bhove, 2 teelg of ebabiity and abrength from below, av perhaps 3 pervseive, somber quality. EySHAPE AS IMAGE A shape w a oualy percewed area bound hy lines or edgee oF conbrast, AS on iinage, shape wo oven relative te the space surrounding b and Wentified by te contours and the pattern of 2 structural featuree, “The nate of these rateerne and conbaurs ¥ the key to our understanding of what ohapee represent na drawing. In drawing the contours of what we sec, we emphasize She nabural appearance of 2B particular thing from a epecitic pont oF om, the contour ines define naburslio- tie shaes. Whether a naturalistic shape: conveys What Ib io supposed 2, however, depends on one’s point oF view Some nsburaliobe shapes reaure Shading, clon, and ventore il out frair fat and vendor them recog” mahi Qiere are tccaatul st representing ony'a claes or category 2 tanga. Sail Shere communiesee Frew oppoitic deny ante easily mibhovt content,ABST! ln order to communicate more ettectve- Iyyme ean abstract macwaiohe ehores it drawing ie an abacraction oF reality. In the procese oF abstraction, we amie by chawe or circumstance cortsin Unnecessary details, and we retain arly these cacontial charackerisbice or structural Features oF a thing Which dretinguieh & from other thinge. There are, of course, varying degree of abobraction. ACT SHAPES, 2y exaggerstion, we can emphasize tye oF tore features of 3 thnng. Tie eiverste dietortion can aieolead co esl.ang shoves of chinge by romening rcewved detcwenciee in what we oe. Mor we conaistently spp distortion ar otagerabon oor oh one drown, wre alice 3 compoottion oF sho while-robainny ine poteral aparece W the sonce water.SHAPES AS SYMBOLS: “he ohape of an obyect 19 necessarily altered or tranotermed by viewing dio tance and angle This may simply be 3 Ghange in 6122 ar a more complex brans- forvriotion of farm relationships. We con nevertheless entity things even when the parbcular mages we o2e shift and mrave in our perception, This phenomenor, known as shape constancy, onavies vs to araop the structural feztures of some Shing respective of hot may appear inrealiy. Shape constancy provides the basis for aur vee of shaves 26 symbols, In develop ing symbole, we distill From ahiFeing visual evento these ivanable sepeces which are meaningful £9 vs, and which distinguieh one thing From another. Symbsle are therefore persistent shapes which are based on significant convoure and structural features. beRepresentational eymbolo are simplified pictures of what they represent. “o he Freaninatul, they must be generalized Job embody’ the Seructurd) features a What they refer to. Highly absbrace shapes, on the other hard, can be very broad th application, but vevally need 2 context or captions to Fully explain their mearing, When aymbols became mere abstract and lose any neual connection bo what refer, they become signe. S4ne refer to 3 thing or idea wighout reflecting any 9 le» vival charac tenistice, They can be understood only iy common agreement or coivention, 7SHAPES As VISU! Besidee representing whab me 9ce or cryin, 3 shave ca alo cast 3 the Underlying regulating Framework for 3 composition. tho ines wach debe 9n organizing shape are nob necessarily seen. gopenzing shay express the rol L CONCEPTS Neer Wary Caseatt hon used to oxress seructure, shape tonto lobe geonobrcsly sme eblor than compl he we poke the ore Ing ohpsrenynitale doo te rave Weedon tbe ere cary defied dhagvea wuch comproe an mayer The tative Oo oanaing sage aftgte bur perception of 3 drawing omy, 2rd scrince hthor nd eal sel or comple reget or regs ar, Stabe or dyntmiceWhen droning what we oe, 2 number oF cempositieral prosibiities may exist. To evaluste theae, we determine those aepects which abbrack our attention. These form 3 s0¢ of visible rlamionahips and the pattern of these visual forces, inturn, defines shapes. We should examine these relationships ard the compositional poosiilicies in beems oF these ehapes. Even when rang what we enioion, We can vse shape in tris manner 40 organize aur thoughts ard structure poosi- bites.DEPTH THE ART OF TLLUSIO? When we drow, ne ablomet to transcribe ‘aspects of tarea-dimensional realty orto 2 Fist sortace which hae ony two Omenoions ‘The resulting plotoral ages can be ambaueus or whatever Space and depn we read in 4 drawing vo ilosory. Certain arrangemento oF lines, shapes, valiee, and textures, however, have’ the potential oF conveying the epatia array oF oid forms mn opacb. fall depends an tow ove woual eyotem interprets the Grown image, n drier #0 convoy threes dimensional forme in space and depth in ar grommae, we moet master te!arb a