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    (Oliver) The Sketch

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    (Oliver) The Sketch

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    Copyright:

    © All Rights Reserved
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    15 views128 pages

    (Oliver) The Sketch

    Uploaded by

    jenny

    Copyright:

    © All Rights Reserved
    Download as PDF or read online from Scribd
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    of 128
    4 Vea were oe ———?— He mide MOU e FOREWORD THE SKETCH IS A GRAPHIC MEANS FOR RECORDING AND COMMUNI- CATING A VISUAL EXPERIENCE OR MENTAL IMAGE. To BE ABLE TO DO THIS QUICKLY AND EFFECTIVELY IS AN INVALUABLE, TOOL WHICH CAN BE USED IN MANY FIELDS OF ENDEAVOR, INCLUDING THE GRAPHIC ARTS. IT IS THE PURPOSE OF THIS BOoIc To POINT CUT HOW TO MAKE EFFECTIVE SKETCHES AND To SUGGEST VARIOUS MATERIALS AND TECHNIQUES WITH WHICH TO ACCOMPLISH THIS. SKETCHING Is 2UST ANOTHER FORM OF PRAWING, EXCEPT THAT IT IS LOOSE, SPONTANEOUS, AND NOT TOO PRECISE, THERE ARE, OF COURSE, VARIOUS DEGREES OF EXECUTION, PROM A 30-SECOND SKETCH To ONE THAT TAKES AN Hour or so. (TIS NOT THE INTENT OF THIS BooK TO BE TOO TECHNICAL OR TO STRESS ONE TECHNIQUE OVER ANOTHER. UPON CONTIN- VED INVESTIGATION AND PRAC- TICE, ONE WILL DEVELOP ONES OWN SKETCHING TECHNIQUE MUCH AS IS PONE IN PENMANSHIP, FINALLY, ALL OF THE HELP AND ADVICE PRESENTED HERE WILL BE OF LITTLE USE To ANYONE WITHOUT INTENSIVE AND PER SISTENT PRACTICE . ALL SKETCHES \N THIS BOOIc AEE ACTUAL SIZE- u MATERIALS (1) S THEZE ARE MANY PENS OF THE METAL-POINT SND FIBER TIP TYPE. THERE AZE MANY PENCILS OF THE GRsPHTe, CAR- BON, CHARCOAL, AND WAX - BASED TyPE. IN BOTH PENS AND PENCILS, THERE IS A VARIETY OF COLOR, DEGREE OF SOFTNESS, TEXTURE, AND THICKNESS OF ‘LINE. IN ALL, THERE IS A TOOL FOR EVERY- ONE AND FoR EVERY TYPE OF SKETCHING RESULT, AND THERE ARE MANY SURFACES UPON WHICH TO SKETCH . EXPERIMENT WITH ALL TYPES, AND USE THOSE WITH WHICH ou HAVE THE MosT Success. A SKETCH 1S THE PRODUCT OF A VARIETY OF LINES ASSEM- BLEDTO MAKE SHAPES THAT ce- SEMBLE REALISTIC FORMS. DE- JAIL IS ADDED To THESE SHAPES To GIVE THEM MORE MEANING AND IDENTITY. A FINAL DIMEN- SION IS ACHIEVED BY THE ADDI - TION OF TONES AND BLACK TO REPRESENT DIFFERENCES IN LIGHT ON THE VARIOUS PLANES: AND To DEPICT SHADOWS AND SHADES . ONE MUST DEVELOP A QUICK, CONFIDENT, POSITIVE, AND ACCURATE STROKE OF LINE IN ORDER. TO MAKE CONVINC- ING SHAPES, DETAILS, AND TONES. THIS TAKES MANY HOURS OF SIMPLE PRACTICE. KETCH (2) THE EVOLUTION OF A SKETCH THE LENGTH AND CONTOL OF THE LINE STZOKE ARE THE PRODUCTS OF THE FEEDOM OF MOVEMENT IN FINGEIZS, WRIST, ELBOW, AND SMOULDE Ie. MoSsT STEOKES, EVEN SHORT STZOKES, CAN AND SHOULD BE MADE WITH A GLIDING MOTION, USING THE SHOULDETE AS A PIVOT POINT. THIS MAKES POSITIVE AND TRUE LINES. USE THE SIDE OF THE LUTILE FINGER. AS A STEADYING POINT UPON WHICH JO GLIDE THE HAND, LINE WD Gy, UAE FINGER. MOVEMENT ONLY LENGTH OF STROKE IS LIMITED, Se WRIST MOVEMENT ONLY NOTE THE FORCED CURVATURE oF LINE. SHOULDER AND ELROW MOVE - MENT ONLY a a SE Le FREEDOM OF MOVEMENT OF ALL PIVOT POINTS FENDERS A WIDE VARIETY OF STROKES. TYPES OF STROKES THE STROKES IN THE SKETCH To THE LEFT WERE DONE WITH FINGER. MOVEMENTS. IT 1S AN ACCEPTABLE SKETCH, BUT IT LACKS CONFIDENCE OF STROKE AND SFON- (J TANEITY OF EXPRESSION. THIS SKETCH Was MADE WITH MOVEMENTS MAIN- Ly FEOM THE SHouLpee. THE DETAIL Was PLACED IN WITH FINGER movE- MENTS. iT WAS DONE FASTER AND IS 4 STRON- GER SKETCH THAN ABOVE. THE SKETCHES ABOVE AEE DRAWN WITH A DISCIPLINED STZOKE. THE SKETCHES BELOW 42© DEAWN WITH A LOOSE, FREE-FLOW- ING STROKE. BOTH ARE ACCEPTABLE BUT RESULT IN SKETCHES OF DIFFERENT CHARACTER . TYPE OF LINE * PEN: THE ILLUSTRATIONS ON THIS AND THE OPPOSITE PAGE DEMONSTRATE THE VaIZIOUS LINE QUALITIES THAT CAN €O INTO MAKING 4 SKETCH. THE MORE VARIETY OF LINE, TRE MORE INTERESTING THE ResuLt. VARIABLE LINE SOMPOSITE OF LINE 20 nh TYPE OF LINE + PENCIL « Gree ; comms 7 | Valet ie = eg or UNE in —=S = EY at —h E 5 mn eS ee COMPOSITE OF LINE. fe LINE. HAPE (@ GEOMETZIC SHAPES CONSTITUTE. THE FEEMEWORK OF THE MANY OBVECTS IN A SKETCH. LINES DETAIL 1S APPLIED To ave REALITY. OFFINE THE SHAPES UPON WHICH a aw 7 if FH Lh Wf Ws As “ qi 2 Fat hy ¢ ESE Bowe 5 ya a f- GEOMETRIC SHAPES Form THE BASIS FOR BUILDING UP MANY SKETCHES ELOOR PLAN RAPIDLY. s o> THE SKETCHES ON THIS AND THE OPPOSITE PAGE stow THE DEVELOPMENT OF ARCHITECTUZAL FOEMS THIEOUGH THE FREE BUT POSITIVE SKETCHING OF GEOMETeIC StiAPES IN ‘ UNE FoRM mic oo < [pine eo ——° SITE PLAN FLOoR PLAN THECE ARE MANY OTHE USES FOR SIMPLE GEomETEIC SHAPES IN DAGAMING AND > COMMUNICATING THOUGH SYMBOLS AND FORMS - WAAR Tt oo ies 1 " wal ken= | ot i \F 2) a | ei Greil Bie ELEVATION SCHEMATIC SKETCH 27 ie Ce om The cy | CR | nat ey: IN C2DER To SKETCH LANDSCAPE FORMS, ONE MUST FIRST DESCRIBE THE GENERAL SHAPE OF THE FOLIAGE MASS AS SHOWN IN THE VARIOUS FORMS ABOVE - oa e ere a THE DETAIL OF LEAF CONFIGUZATION AND TRUNK STRUCTUZE IS THEN SKETCHED IN TO FURTHER DEFINE THE TeEE OF BUSH. SUGAR CANE OUCE STAND PENANG, MALATSIA ‘77 DETAIL (6) THE SHAPE OF THE OBJECT of PARTS OF A SCENE AzE DEFINED AS IN FIGUEE A. DETAIL wiTH- CUT THE SHAPE 1S SHOWN IN FIGUEE B. FIGUZE C stows THE ADDITION OF THE DETAIL ON THE SHAPE, RESULTING IN A COMPLETED LUNE SKETCH. =I 4 Laaai4||| re $ a é Fy (1A C.SHAPE + DETAIL = SKETCH 3l \s | rh t=} = = se SHAPE Stas + SHAPE SHAPE + DETAIL THE SKETCHES ON THIS AND THE NEXT FAGE SHOW THE con- STIZUCTION OF SHAPES, AND THE DETAIL ADDED TO DEFINE AND Give REALITY TO THE sKeTcH. SHAPE SHAPE + vetai L SHAPE SMAPE + DETAIL a o4 ONE*+BLACK 6) THE TONE AZEAS ON SURFACES IN A sxeTcH TEND TO INCREASE THE APPARENT DEPTH, DIMENSION, AND INTEREST, FIGURE ¢ THE ADDITION OF DARKS OR BLACK To A SKETCH PROVIDES AN EXCLAmMA- 2 | TION POINT. IT CAN MAKI Fevers Aane S A DULL SKETCH EXCITING. THE TONE aeEAS CAN BE UNIFOEM. OR VARIABLE. tt {Fei ft Ni Let LUNES DEFINE Fi aa a THE SHAPE J ( : ss a a ft iT : ae 15 ApD- isle DR RAL, soto Ee | stare —— TONS + Buaci. 1S AppeD Ta — THE DETAILED SHAPE ih : i Re AN AMA ve Wn a “4 Ms <) Ul SHAPE DETAIL. TONE + BLACK WAX-' BASE PENCIL. TONE + E LINE FIBEIe-TIe ‘PEN ‘31 THIS SKETCH WAS DONE WITH A wax-~ BASE PENCIL, WHICH ALLOWED FOZ A FULL RANGE oF VARIABLE TONES PLUS BLACK. NOTE THE IMPACT oF THE BLACK 4cEeAs IN GACH SKETCH. THIS SKETCH Was. DONE WITH AN INDIA. INK SKETCH PEN, THE VARIABLE TONES, ARE ACHIEVED OF LINE STROKES WITHIN AN AZEA . “AG Pati = Pe A. B THE SKETCHES ON THIS PAGE FiIGQUZE A UNIFORM TONE \LLUSTHATE THREE STEPS IN THE USE OF TONE AND TONE Figuee B VARIABLE TONE PLUS Black. FIGUEE C TONE PLUS BLACK THESE EXAMPLES SERVE To ILLUSTRATE HOW SKETCHES WITH UNIFORM TONES FLUS BLACK ARE ADEQUATE. BY MAKING THE TONES VARIABLE AND INTRODUCING MORE BLACK, THE SKETCHES &2E FURTHER ENHANCED. ‘es 4 pemeen. H NE. SHADOWS (@) THE USE OF SHADOWS IN A SKETCH PROVIDES AN ADDITIONAL WAY Jo ACHIEVE 4 SENSE OF DIM- ENSION AND REALITY. IT CAN ALSO BE A MEANS FOr FOCUS- ING ATTENTION ON AREAS IN THE SKETCH AND FOR. CREATING Moop. IN SKETCHING, IT IS NECESSARY To BE AWARE OF THE EXIS— TENCE OF SHADOWS IN ACTUAL SCENES, WHAT CREATES THEM AND HOW THEY CHANGE WITH THE SUN'S LOCATION RELATIVE To THE SCENE OR OBJECTS IN THE SCENE. ONE MUST OBSERVE HOW SHAD- Ows PERFORM AND KNOW HOW To MANIPULATE THEM TO THE ADVANTAGE OF THE SKETCH. THIS TAKES A SMALL DEGREE OF EXPERIENCE, THESE ARE GEOMETEIC PROCEDURES THAT CON BE USEP TO AECURATE- LY CONSTRUCT SHADOWS ON OB- SECTS. HOWEVER, THE EMPHASIS IN THIS TEXT WILL BE ON ILLUS— TRATING THE USE AND VALUE OF A sHADOW. al 1. SHADOWS ARE THE DAZIC AREAS ON SURFACES, CAUSED BY AN OBJECT INTERRUPT~ ING THE SUN'S RAYS. 2. AREAS AWAY FROM THE SUN AZE saiD TO BE IN THE SHADE. SUN FROM BEHIND SUN FROM THE RIGHT SUN FRO! M THE LEFT THE OBJECT AND IN FRONT OF AND INFRONT OF THE THE OBJECT - Low ove. IECT -| = OVERHEAD Peper NIGH EOver FIGURE A SHOWS ONLY THE SHAPE AND DETAIL IN THE SKETCH. FIGUEE B SHOWS ONLY THOSE A@EAS THAT REPRESENT SHADE Of SHADOW WITHOUT SHAPE OR DETAIL. Figuee C SHOWS THE TOTAL SKETCH, WHICH INCLUDES SHAPE, PETAIL, AND TONE + Black. THE TONAL AREAS AgE THE SHADES AND A. SHADOWS. f i sa iE a. THIS SKETCH SHOWS ONLY THE SHADE AND SHADOW AREAS IN A SCENE. . THE SAME SCENE WITH DETAIL ADDED. THIS GIVES REALITY To THE SKETCH. » THIS IS THE SANE SCENE WITH THE DIZECTION OF THE SUN REVERSED. . NOTE. THE EFFECT cavsep BY THE LIGHT OF THE SUN ON THE FIGUeES,. HIGH CONTRAST WITH WALL. HIGHLIGHT ON CHIMNEY TOP Cees Carta REFLECTED UGHT REFLECTED UNDETe OVERHANG NOTE THE VALUE CHANCE THAT EXISTS IN ALL Dark VARIETY OF TONE AEAS. PROVIDES INTEREST. Aes tes) CREATES A 3-D EFFECT. NOTE HOW THE SHaDbEes AND SHADOWS ALONE DEFINE THE TREE snares. THE ADDITION OF A SMALL AMOUNT OF DETAIL FINISHES THE SKETCH. ss rill - COMPOSITION THE PRECEDING PAGES HAVE DEALT WITH THE MECHANICS OF CONSTRUCTING A QUICK SKETCH USING LINE, SHAPE, DETAIL, AND TONE PLUS BLACK. HOWEVER, IT IS NOT SUFFICIENT TO JUST RENDER A FACSIMILE. OF A SCENE of OBJECT. ITIS NECEsSAY To comPOSsE ALL ELEMENTS OF LINE, SHAPE, DE~ TaIL, AND TONE PLUS BLACK IN- TO AN ORGANIZED AND EFFEZ— TIVE STATEMENT. THS IS KNOWN AS THE COMPOSITION OF THE SKETCH. COMPOSITION CAN APPLY TO AN OBJECT Of GROUP OF OBJECTS AS WELL AS AN ENTICE PICTURE FORMAT . FOLLOWING ARE A FEW ILLUS- TRATIONS THAT COVER. SOME BASIC CONCEPTS OF COMPOSI- TION. ONE'S SKETCHES CAN BE TESTED AGAINST THEM. er LON CENTER OF INTEREST Ti) | t t STATIC DYNAMIC TO PROVIDE A More INTERESTING FORMAT FoR 4 PICTURE, RAISE oR LOWER. THE LINE oF CENTER OF INTEZEST AND Do THE SAME LATERALLY. THIS PROVIDES A MORE INTERESTING DNISION OF SPACE WITHIN: THE FORMAT. DYNAMIC - syYMMETEICAL DYNAMIC - ASYMMETEICAL TL FULC2UM CENTER OF INTEREST THE COMPOSITION OF A PICTURE SHOULD &E IN EQUILIBRIUM oF BAL- ANCE, WITH THE CENTEIe OF INTEREST FALLING AT THE BALANCE POINT OR FULCRUM. THERE ARE EXCEPTIONS TO THIS, HOWEVER, WHEN WANTS TO ACHIEVE MORE DrA- MATIC EFFECTS. FULCRUM CENTER OF INTEREST Aq FLAT SPACE TWO-DIMENSIONAL PATTERNS ARE OVERLAID TO CREATE AN ILLUSION OF DEPTH IXNOWN AS FLAT SPACE - BY ADDING PERSPECTIVE TO THE INTERPLAY OF PLANES AND VALWES, A MORE ACCURATE ILLUSION OF DEPTH IS CREATED, WHICH ISKNOWN AS DEEP Space. DEEP SPACE THE SKETCHES ABOVE SHOW HOW SHIFTING THE EHGH-cONTAST AREAS CAN SHIFT THE A@EA OF INTEREST. FOILEGROUND ae 4 AA THE THICEER MAsOR ELEMENTS BACKGROUND MAKING UP A COMPOSITIO MIDDLE GROUND a ote | TOTAL COMPOSITION a THE TEE FORMS THE BUILDING TREES AND BUSHES STOP THE [SACK GROUND - ISTHE MIDDLE ACTION OF ROAD AND BUILD- GreounD. ING OUT OF PICTURE. LADDEre BRINGS EVE AZOUND IN COMPOS|— BUSHES AND JANE TREES BRING EYE Bacic AIZOUND INTO coer Pictuee.- \NTO CENTER OF PICTURE. BACKGROUND TREES SET BUILDING OFF, THEY DIECT THE EYE IN— WARD. TREES , BUSHES, AND SHADOWS ARE FORE- GIZQOUND « SHADOW AZEA AND Fiquees sToP EYE ALONG OAD AND KEEP IT FIEOM LEAVING THE CENTER OF INTEREST- PICTURE. HIGH CONTRASTING VALUES + FIG.A. IS TOS SPOTTY ALTHOUGH THE WHITES ARE LINKED. FIG A. COMPLETE FIG. B. BOTH WHITES AND TONES ARE LINKED To- a GETHER BET- TS. FIG. B. WHITES AND TONES FIG. B. COMPLETE IN COMPOSING A SKETCH, ONE MUST AVOID THE PITFALL OF SCATTER- ING THE WHITES AND TONES AROUND THE PicTuce FORMAT. THIS RESULTS IN A MONOTONOUS AND SPOTTY PICTURE. THE WHITES , MIDDLE TONES, AND DARKS stoULD HAVE A LINKAGE AckosS AND THROUGH THE COMPOSITION . A MORE INTERESTING COMPOSITION CAN BE DERIVED BY JUDICIOUSLY POSITIONING SHAPES IN A SKETCH. THE SAME IS TRUE IN THE PROPORTIONATE USE OF BLACK, White, AND MIDDLE TONE VALUES- 56 Ke Ta PER PECTIVE ARCHITECTURAL SKETCHING CALLS UPON BOTH TWO-DIMENSIONAL AND THZEE- DIMENSIONAL VIEWS TO COMMUNICATE GFAPHICALLY. HOWEVER, THREE- DIMENSIONAL SKETCHING INTRO- DUCES THE NEED FOR PER - SPECTIVE IN SKETCHES TO GIVE THEM REALITY. IT SHOULD BE UNDERSTOOD THAT THERE ARE ONE; TWO;AND THREE-POINT PERSPECTIVE SYS- TEMS IN DRAWING. FOR MOST SKETCHING VIEWS, THE ONE- AND TWo-POINT PERSPECTIVE SYS TEMS SHOULD SUFFICE. ONE SHOULD DEVELOP A FEELING for | PERSPECTIVE SO ONE CAN APPLY TRE THEGEY OF LINES VANISH- ee ING TO A POINT WITHOUT THE USE OF AIDS. UNTIL ONE DEVELOPS AN EYE FOR PERSPECTIVE, ctwetTs CAN BE OF ASSISTANCE, BY DRAWING ON TRANS PARENT PAPER OVEI THE CHAITS, USING THE LINES AS GUIDES, ONE CAN CONSTRUCT A SKETCH WITH ZEA- SONSBLE CREDIBILITY. OF COURSE, NOTHING CaN EEPLACE THE FACILITY OF BEING ABLE To THINK AND DEAW IN PERSPECT- WE WITHOUT A CHATET. IT 1S IN- TENDED AS A QUICK TooL BUT NOT A CRUTCH OR SUBSTITUTE. PERSPECTIVE MEANS THAT EDGES s7 OF SOLIDS AND INTERIORS OF VOLUMES CONVEIEGE ON AN IMAGINAZY POINT OR POINTS IN SPACE TO CREATE AN ILLUSION OF THREE DIMENSIONS- PEESPECTIVES CAN BE VERY AECURATELY PLOTTED To RE - CONSTRUCT IN THEEE DIMEN— SIONS THAT WHICH HAS BEEN CONCEIVED IN TWO DIMENSIONS. FOR SEETCHING THIS PRECISION \S NOT NECESSARY, BUT AN UN- DERSTANDING OF PERSPECTIVE PRINCIPLES |S IMPORTANT AND APYANTAGEOUS. A FEW NOTES ON PERSPECTIVE 1.AS ONE CSSERVES THE SCENE, THERE IS AN IMAGINARY LINE DZAWN AT EYE LEVEL. THIS LINE IS KNOWN 4S THE HORIZON LINE. 2. ALL LINES NOT PARALLEL To AN IMAGINARY PLANE IN FONT OF THE VIEWER WILL APPEAR To RECEDE To AN IMAGINARY POINT OF INFINITY ON THE HORIZON LINE. THIS POINT IS CALLED & YANISHING PoINT. DEPENDING ON THE TYPE OF VIEW TAKEN, THERE MAY BE ONE OR TWO VANISHING POINTS. 3. ALL HORIZONTAL OR VERTICAL LINES IN FRONT OF THE VIEWER WILL APPEAR HORIZONTAL OR VERTICAL BUT WILL FORESHORTEN AS THEY RECEDE IN THE SCENE INA ONE-POINT PERSPECTIVE. THIS APPLIES ONLY TO VERTICAL LINES. o = IN A TWo-POINT PERSPECTIVE. VANISHING POINT | Z HORIZON LINE, C\i] — he Fs h jw \ea ul MN HH] mee i = Free i = —\ VANISHING POINT ONE-POINT PERSPECTIVE TWO - POINT PERSPECTIVE BELOW IS THE SAME SCENE WHICH IS VIEWED FROM TWO ODIFF- ERENT POINTS. A ONE- Of TWO-POINT PERSPECTIVE WAS CALLED Fore, DEPENDING UPON THE LOCATION OF THE VIEWEIe. Two Point ONE Point ~ fae : * bee eae LINE, ELEVATION ELEVATION ONE-POINT PERSPECTIVE CNEROINT EE RS EE LINES A. \ ALL LUNES THAT ace PERPENDICULAR. To THE VIEWER. WILL SLOPE To THE VANISHING POINT. HORIZON Ee LINES 6. ALL LINES IN THE SCENE THAT AE HORIZONTAL OR VERTICAL WiLL RE- MAIN IN THAT FORM BUT / “ WILL DIMINISH IN SIZE ’ AS THEY ZECEDE IN THE PictTuree. \ ONE-POINT PERSPECTIVE CHART a[Moeeoe LINE S THI IZIZON LIN! ALWAYS AT | VE oss VANISHING GUIDELINES. 2 VANISHING GUIDELINES: INE - POINT PERSPECTIVE. BO Oe THIS SKETCH WAS CONSTEUCTED OVER THE ONE-POINT PERSPEC- TNE cHAeT ON PAGE G2- VANISHING NANISHING POINT a ae fea GUIDELINES. EVE LEVEL INES“: TWO -POINT PERSPECTIVE ALL LINES IN THE sceNE THAT ARE HORIZONTAL WILL SLOPE To ONE oF LINES 5. TWO VANISHING POINTS. A NES a THAT ARE VERTICAL WiLL REMAIN VERTICAL, BUT we THEY WILL DIMINISH IN mo el” SIZE AS THEY RECEDE IN THE PICTURE, MANISHING GUIDELINES THIS SKETCH Was CONSTRUCTED OVER THE TWoO-POINT PER- SPECTIVE CHART ON PAGE 64. HUMBNAIL = SKETCHES = thes THE THUMBNAIL SKETCH IS A Way To RECOeD IMPRESSIONS IN VERY LOOSE AND BROAD TERMS. IT IS AVERY coop DEVICE FOR CONCEPTUALIZING. PETAIL SHOULD NOT BE USED IN EXECUTING THIS SKETCH. IT SHOULD BE SIMPLE AND LOOSE. MUCH IS SUGGESTED AND IM— PLIED, WHICH IS THE SECRET OF A GOOD THUMBNAIL SKETCH. AS THE NAME SUGGESTS, THEY ARE SMALL AND CAN BE EX-— ECUTED RAPIDLY. oT fiir tte hate ® THUMBNAIL SKETCHING AS A FORM OF DOODLING IS VERY HELPFUL IN TRAINING THE EYE To SEE PRO- epee PORTION. IT ALSO FORCES lel, 5 ONE TO KEEP THE SKETCH Pegspeciwe SIMPLE. ELEVATION SIZE. THEY stow NOTE. THAT THE PRINCIPLES OF LINE, SHAPE, DETAIL, AND TONE + BLACK APPLY To HUMBNAIL SKETCHING AS WELL AS LarceR AND more COMPLETE SKETCHES. ee WEDGE POINT FELT-TIP PEN WEDGE PONT oe —_ FELT-TIP PEN WEDGE POINT oF THE ABOVE THUMGNAIL SKETCHES WERE MADE AS com- POSITION AND VALUE STUDIES FOR LARGER DRAWINGS AND PAINTINGS. THE SKETCHES ARE ACTUAL SIZE. 7 FIGURES AND LANDSCAPE FIGUZES AND LANDSCAPE IN SKETCHES SERVE AN IMPORTANT ROLE. THEY PROVIDE SCALE TO A SCENE AND PROVIDE ANIMA- TION AND INTEREST. THE OBJECTS NEED NOT BE PERFECT IN DETAIL. THEY SHOULD BE SKETCHY ANP HAVE SOME PERSONALITY AND MOVE- MENT. THESE ELEMENTS IN A SKETCH AZE NOT TO BE CONFUSED WITH Moree PRECISE ONES OFTEN SEEN IN DETAILED DRAWINGS. THE SUCCESS OF DRAWING Scop FIGURES AND LANDSCAPE FEA— TURES DEPENDS ON KEEPING THEM SIMPLE WITH AUTHENTIC. CHARACTERISTICS. AS IN ALL SKETCHES, MUCH IS. IMPLIED AND NOT NECESSARILY DRAWN . Dots POOR Dabh Did THE FiGueeE CAN EVOLVE QUITE SIMPLY FROM A RECTANGULATe SHAPE CALLED A TRUNK. BY PLACING ARMS, LEGS, AND HEAD IN DIFFERENT ATTITUDES UPON THIS. RECTANGULAR TRUNK. SHAPE, THE FIGUCE 1S FORMED. A FEW CLOTHING INDICA- TIONS AND AccESSORIES GIVE MEANING To THE FIGURE. KEEP THE FIGURES SIMPLE. POU RMR OR RES THE FIGUZES SHOWN ABOVE AND BELOW AZE DEVELOPED ICOM THE SAME TRUNK SHAPE SHOWN ON THE LEFT. Leas, ARMS, SND FOOT DIZECTION PROVIDE DIRECTION AND ANIMATION TO THE FIGURES - of ble ko em THE FIGUCES SHOWN BELOW ARE SIMILAR To THOSE ABOVE BUT THEY HAVE MOZE DETAIL ADDED To THEI2 COSTUME TO PROVIDE MORE INTEIEST. : Mee Ht ee by et PAS at oo a = AOU. THE FIGUZES ON THIS PAGE WEEE MADE FIEOM THE SAME BASIC TRUNK FoeM. TO PROVIDE MORE ANIMATION TO THE FIGUEE, THE TRUNK WAS CURVED INSTEAD OF RECTILINEAE AS IN PREVIOUS EXAMPLES. THE ATTITUDES OF THE AeMS, LEGS, AND HEAD PROVIDE ACTION AND DIRECTION TO THE FIGURES. Rote batsh WOME fate te yn NOTE THE STRONG. EMPHASIS ON THE SHADE AND SHADOW" AREAS OF THE FOLIAGE AND TRUNK E pS APPLY LIGHT AND MipoLe VALUE TONES IN SHADED AREAS OF FOLIAGE Ano & TREE TRUNK. LEAVE THE AREAS WHERE SUN HITS ALMOST WITHOUT TONE. BLOCK OUT FOLIAGE AND TRUNK SHAPE. APPLY DARK TONES + BLACK. INTRODUCE. DETAIL OF BIZANCHES AND LEAF STRUCTUEE., Sr 2S EXAMPLES AND ~ CRITIQUE THE EXAMPLES APPEARING ON THE FOLLOWING PAGES ILLUS- TRATE THE USE OF DIFFERENT DRAWING TOOLS IN SKETCHING. MORE IMPORTANT, HOWEVER, ARE THE NOTES ON EACH SKETCH THAT CALL ATTENTION To THE MRIOUS AREAS THAT MAKE THE SRETCH EFFECTIVE. IT IS SUGGESTED THAT ONE copy EACH SKETCH. IN DOING SO, ONE SHOULD OBSERVE HOW THE VAR- JOUS AREAS AND THEI HANDLING CONTRIBUTE TO THE SUCCESS OF THE SKETCH, THIS IS AN INVALUABLE Way To LEARN, PROVIDING ONE IS AWARE OF WHATIS HAPPENING AND WHY DAK PLANES AGAINST UGHT PLANES eran DEPTH. eat SHADOW CHANGE ON DIFFERENT PLANES oe AND SURFACES . eZ THE VALUES IN THE Same SAN MIGUEL DE ALLENDE, Mexico ONITE ELEMENTS HIGHLIGHTS ON TREE seROSS THE Provioe INTezestT © SKETCH cons Va see COMPOSITION. AND TEXTURE. WOLF'S CAZBON PENCIL A GOOD EXSMPLE OF PLAYING MOST ACTIVITY IN VALUES PARKS AGAINST LIGHTS To IS LOCATED IN THE CENTER ESTABLISH FORM. A MINIMOM OF INTEREST. OF LUNES 'S USED. f a SAN MIGUEL DE ALLENDE MExico . ws ELEMENTS IN @ SKETCH DONE WITHA 6-8 THE FOREGROUND 5 = TIE ACROSS THE "LEC HARDMUTH PENCIL. - SQUARE COMPOSITION - LEAD. 65 aie POINT PEN - “PENTEL” TREE TONE VAMES . Fizom TOP To BOTTOM For INTEZEST AND SWADED BVILDING, SIDES DZAMA, AND SHADOWS DEFINE FoRH. DARKS USED To Bieds PrRovipe DEFINE CORNER. wieeesT. NOTE THE SIMPLE USE OF BLACK AND WHITE To DEFINE SHADOW FROHES FIGURES. AND PROVIDES TWRE AND VAWWE . THIS ZE- UEVES MONOTONY’. @ SRETCH DONE WITH A BaLL- RADICAL CHANGE IN ROOF = CHANGE IN TONE VALUES GIVESIT SHAPE. OF PIPE PROM THE DAZIC AREAS ARE USED TOP TO BOTTOM TO SILHOUETTE AND DEFINE THE UGHT Areas. TeeE sHADOw . SUGGESTS ENTIRE /KEFLECTED LIGHT |S THERE IS Quauty eee IMPORTANT HEE. FOREGROUND IN THE SHADOWS THE FOUNDATION |S @ SKETCH DONE WITH A WAX DEFINED BY SHADOWS BASED PENCIL ~"PRISMACOLO" eT THE BACKGROUND IS KEPT SIMPLE ®UT STRONG - ** WINDOW SHADOWS CREATE DEPTH, DAI2K SGAINST LIGHT CeEATES DEPTH. 2 USE OF SHADOWS CREATES 3-D QUALITY. PEOPLE PRO- - VIDE INTEREST AND ANIMATION , FOREGROUND Darks TIE THE COMPOSITION ToceThEe - FOREGEOUND ELEMENTS @ SKETCH DONE WITH « 'STANBUL, 1 FLEXIBLE FELT-Tip PEN THE Daexcs CON- NOTE THE PLAY OF Teast WITH THE DARKS AND LIGHTS, LIGHTS HEE. WHICH ENHANCE S BACKGZOUND s DEPTH, PROVIDES INTEREST, AND GNES VITALITY TO THE SKETCH, CONTRAST OF act PARK TREE A PSEINST LIGHT 2. \ FOREGROUND DAEKS FIGUZES PROVIDE HELP PRAME THE SCALE AND SNIMO~ @ SKETCH DONE WITH SKETCH, TION. A LITHOGRAPH PENCIL 8F SHADOWS ARE IMPORTANT \MPORTANT TO To MAKE GNE A SENSE SHADED OF DEPTH IN AREAS THE SKETCH, Moge IN- TERESTING, SRINIGAR, KASHMIE THE PLAY BETWEEN DARK AND LIGHT AREAS To DE- FINE SHAPES IS IMPORTANT HEEE. / ( FEW LUNES ARE Deawn. THE FORM AND SHAPE IS CREATED BY HANING ONE TONE PLAY OFF AGAINST ANOTHER. @ SKETCH DONE WITH 4& SOFT SKETCH PENCIL “BIBONY VET BLACK" YAR’ THE WIDTH OF THE STROKE To PROVIDE INTEREST AND TEXTURE TeEES AND RPAINSPOUTS PROVIDE FRAME AT Tor OF FORMAT, PLACE Some AUTHENTIC ELEMENTS IN THE SeETCH SUCH AS LIGHTS, Spoor: AND PEOPLE | STREET Focuses ATTENTION ON THE CENTER. OF INTEREST THE CENTEZ OF INTEREST HAS. MUCH ACTIVITY OF VALUES. MEXICAN VILLAGE SHADOW FRAMES AND STOPS ACTION OUT OF PICTUCE @ SKETCH DONE WITH A FINE LEAD MECHANIC AL PENCIL. 8 THIS MEDIUM IS VERY RESPONSIVE To THE SURFACE TEXTURE OF THE PAPER « PENCIL STROKES ARE USED TO SUGGEST AETUAL BUILD- ING MATERIALS. NEWPORT Bost YAED @ SKETCH DONE witH A ‘tonTé" CHARCOAL DraAWING PENCIL StWDow AREA OF TREES SUBECT MATE 1S THE HEAVY USI NOTE THE tt YY USE conteaST WITH AND DEFINE FeaMeD By oF SMADES AND KUILDING SHAPES, FI SHADOWS . a y ENCE, GATE, SND TREES. Bac ‘\ , a = Ny ie We cb G LIGHTS AE LEFT “STRONG FOREGROUND ELEMENTS. TUBAC, AIZIZONA THE QUILL PEN CREATES & ONIQUE QUALITY IN THE SKETCH @ seetc DONE WITH AN UNUKE OTHER MORE RIGID POINTS- “ESTERBEOOK"” QUILL PEN 2 14 THIS (5 A FREE-FLOWING REPETITION OF TEXTURES QUuIcic SKETCH DUE TO PROVIDESINTESEST SND THE NATURE OF THE PEN. CONTINUITY, NOTHING |S Too DETAILED. INTEGEST AREA t i ADOWS ¢ BALANCES LARGE ; ELEMENTS ACROSS + | THE COMPOSITION, Dark sHAL SSS NEW Dect INDIA Tle: Sy reames, —— he non peer Stors @ SKETCH DONE WITH A OUT OF ‘ Format. ae FW FEEELINER" INDIA INK CARTRIDGE PEN MUCH IS LEFT To THE IMAGINATION OF THE VIEWER. A VERN QUICK TECHNIQUE, THE SKETCH DEMONSTRATES sons TAKES & BIT OF THE EFFECTIVENESS oF : VALUES AND TONES: @ SKETCH DONE WITH A LUITHOGIEAPH WAX CIZAYON STICK DRAWN ON TONES DEFINE THE SHOPES, ITS SIDE ACZOSS THE SUIeFACcE UNES ARE ATA MINIMUM. INTEREST IS PROVIDED BY NOTE THE VERY LOOSE PLAY OF DARKS AND LIGHTS, HANDLING AND VEIZY BRIEF SUGGESTION OF — TREES, PEOPLE, AND \ BUILDINGS, ba PEOPLE PeO- VIDE SCALE AND ANIMATION. FOREGROUN! - Aver ELEMENTS THE ACTION @ SKETCH DONE. WITH A’ CONTE” FLOWING OUT oF CROYON STICK AND A FIBER- FORMAT, TIP PEN NOTE THE VAZIOUS LINE WEIGHTS AVAILABLE WITH THIS PEN, ALLOWS FOR QUICK. SHADED AZEAS pazic sit - HOUETTE OF BULDING FORE = SUGGESTION IS IM: im- IND zon Be PORTANT. DETAIL eee en \S KEPT To A pauesTiNg MINIMUM, BUILOING wv f i h tt PEOPLE PROVIDE eae BOMBtr, INDIA = SEALE TO SKETCH, ORS BRING ouT Figuees, PEOPLE AND ARE USED Fore @ SKETCH DONE WITH A WEDGE- CREDIBILITY AND SHAPE FELT-TIP "AD Malekee". ANIMATION + a7 c ELEMENTS OVERLAPPING EACH OTHER cREaTE : DEPTH IN THE PICTURE, LIGHTS AND DAEKS DRAW THE EYE. _ | INTO THE SKETCH. : 4 : 7 (t I ot be D =e - wet # he ee NTT \\ \1y ~ NOTE THE SUBTLE ita CHANGE IN THE Meme ASN. @ FLow-PEN INK SKETCH se WITH A BLACK WATER- color WASH 78 ~ NOTE PLAY OF . DORIS AND LIGHTS” o . 00F EQTES WINDOW HANDLING IS, : VERY BRIEF BUT oe os soca THIS (S THE cENTe Se cate. OF INTEREST, HIGHEST BUILDING, sugcesTED CONTIZAST, AND MOST BY ONLY A FEW ACTVE AREA. STROKES, (5 Errective. @ SKETCH DONE WITH A MEDIUM FIBER-TIP PEN -"FLAIR PEN" mW SHADED AZEAS CONTRAST GIVES = sTRONG SOURCE OF CREATE DEPTH! poor texTucEe sper ty LIGHT INDICATED BY STRONG SHADOWS. SUGGESTED ONLY, VARNING TONE IS IN SHADED WALL, ACCENTS ARE THeOUGHOUT THE SKETCH. peoete Wanner DNroeereeree PRovipes Be FOCUS ATTENTION, DEGIN ENO SOCUSE 2, Weer Glick. PROVIDE INTEZEST, ATTENTION. eee AND GIVE SCALE. SKETCH. @ SKETCH DONE with A FLOW PEN-"CASTELL" Gd A HINT OF DETAIL WITH- OUT BEING Too THOOUGH Is Most EFFECTIVE. m4 $ if . Lo I | SHADOW CONTRASTE Dal mm WITH OYELHANG 7 SREQTES DEPTH, LIGHT AREAS ARE LEFT IN Darics For vitaLity, SHADOWS AcE IMPORTANT FOR DEFINITION OF FORM, || PEOPLE GIVE | SCALE AND “TIDE! ANIMATION « < pan 0 = MRO AL PESHAWAR, PAIISTAN @SKETCH DONE WITH A FINE FIBEI-TIP PEN-" PILOT PEN" tor = A VERY QUICK SKETCH, WHICH IS MUCH Like “WRITING'A SKETCH. PEOPLE ASE Looser HANDLED AND SUGGESTED ONLY. THIS MATCHES THE REST OF THE SKETCH. THE PURPOSE OF THE SKETCH WAS TO C4PTUCE 4 BUS\Y STREET COeNER QUICKLY. JAlPuR, INDIA, @ SKETCH DONE With A FOONTAIN PEN JONES THIZOUGHOUT PLACE DARKS AGAINST LIGHTS RE- GARDLESS OF THE DIREC GROUND paRiS TION OF THE SONLIGHT. THIS. ESTABLISH BASE STILL MAKES THE SKETCH FoR BUILDINGS. EPPECTNE . \ HIGH CONTRAST \ OF FIGURES STIMULATES CONTRASTING

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