2 PRINCIPLES OF . Goop GrapPHics This chapter presents forty-five principe to conser in cede produce high-quality raphies If remembered. and practice! these essential prindples ean assure a art Jat of excellence. Some are obvious, while ‘others may be based on concepts not easly ‘ondertocd Study each of these prineipes Thoroughly and apply theen te your ers ings. Review them as you work un they ‘ocome fully integrated with yaurapproaeh todrawing. They will help to timate the ght sideoF your bean nel to ake you The forty-five principles of good graphica aredlvided int tre eateyoris: ine, com. position, and color: These prinipleare ds ‘sted indepth in the sevtion tha flee fan summarized inthe ist below. Also sce figure 24 Fiyre2,RebeccaSoih pa, ML hare Wenn Marker open por on 8° 2 FORT PANGPLES OF onuPace 63 Line 24, Yah Com te So antick Shale and this he Pin to Thiek Soke Svea 2 Tan tne tet begtee Soke Be tye ine iden Steet Grae Ye Change foal oi 4 Prieto Gap 2. Over Ege Be. Dark Freyoundigh Background 5. Professional Dot 22, Stripes. sy . . ‘ aoe. et cer Pacis fr ola Wiel fecha Line camgeton 3 clo & Cotton Ln se Sun Sal 32 Ce Nes eA tra ue ne 3 tev hire 12. chlor Bow Repeat ie 3 Heh agen 1 ot Rep te ale Une BW Spe ciety eu a Scteh pr Line Dati aor Gomer Pet ine 3. Nase {Scar ty PRINCIPLES OF GOOD GRAPHICS 5.Line {Chin the Point Shaping the penel pointby rubbing it back and forth in short strokes on the page 4 fundamental step in ereaing many Tne ‘qualities ina drawing sch asa ine hie fo-hi, end freehand line HOW Hold the pencil a you would to dea, andchise the peinton the paper by rubbing ithackand forth oachiewea wide, Raced Keep the penal at an angle close 10 the paper fora wir stoke. A'soft pendi lead uth as No. 6B will prose the furries, Wider line needed! in good drawings 2. Fuzzy Line ‘Asay line as oft cages ana Hight and lite rather than a have, defi line “There are na inesor outlines in cealobjecs When adraing completed, the ary line will become pat of the object itself Its tied to draw man-made objects such a5 ‘plang and cvs Hom Chise the pencil io make a wie points then se consistent pressureand dawaline ff the some thiknes, 2 Hone 2 fuzzy line deavn with distinct beginning, Anlending segments helps wo develop inte ‘et and depth within a drawing. Appring hit alloms the designer to pause a moment Tefore desing the line ‘How: Chisel ue point abd dra the beg ring ofthe Hine abot to YSnch long ge tack and forth s few times, then dra 9 fuzzy line. End the line using the same riethod a at the beginning, 4. Profesional Gap Asumall breakin a line, “profesional” gap, Jplpn to simulate ight roecing off an ob jets Te also provides for easy twansiion ‘vben draving carves of long ines ow, Drm a furry or hit go hit ine leaving fan occasional gop He inch to inch sede ‘A ‘professional doris point afer line. 1 ccirs ds a result of fast driving, adding imeyement ane life, and providing the f= ishing touch, like «period atthe end of & ow: Diaw a fuze) erhit-gobit line quickly ‘end small dot, witha gapin betes {he two, Aftera tile, with practice, this il ‘occur naivally a pu draw quickly. tt 6. Ovatiep Comer Lines tat intersect atthe corner make ob: [ects appear more square, sharp. and eam plete, The overlap conser is quicker than Airaving a comer with lines abucting per Fert gives the drawing lonwe an peo fessional look © DRAWING ANO DESIGNING WITH CONFIDENCE HOW intersect two fez or to hie got Tines atthe earners Yi inch to Ye neh jn lent. depending on the sizeof the objec. Use a small cverlap for tefited drawings sud lang overlap for loose deaseings Se Armeebaniallin isaclean, crisp line drawn ‘with a straightedge Ie is quitkel, more en: Steal and mare accurate than a line drawn freehand. Ie alo allows you to draw along, Tine easly How Use straightedge and apply furry ot Fitgoshit ine, overlap corner, professional eps and professional dos. These combina: fone make har fines lnk lose ae | fretand line i simply aie drawn wth tut a straightedge. Ie soft and organi, tnd can be used to sketch small dae ings quickly, I allows you to be mare ce uve than lien asing a straightedge and Smulaes che right Brain, However takes tore time tra than the mechanial Be ‘row: Chisel the points then use the fuzzy Tine, hitgo-hit, conanuous line, profes sional dot, and profesional gap «0 dias: Ireebana lines wy 9. Constvetion Line ‘constrvetion line ea light thin, fuzzy line tse 0 plot mt the preliminaty drawingina safe way to establish an overall view of the drawing without commiting to place ment, These lines can be changer! erased il HOW: Use fusry lines with very Hight pres fre co aketch the overall composition of so drain. <> KU A continnenny Tine is a single, nonstop, ‘quickly case ine hat captures esene OF the subject HOW. Using » Farry tse and ito ine, draw continuous without hing the pens fier the paper 13, Ropaot Line A repeat lines simply a line chat ecoes the ‘in lines of drawing. Repeatlinesgivean ‘bject a three-dimensional look by adn Sepa; they hep simaate creativity avd Jaosenes HOW: Loosely repeat fuzz ines orecmetrue tion ines to or msi times ever the egos ‘ofan abject. Appl more repeat Lines the tthe side ofan object, A variable ie isa fuze line dat varies in hides, Ie gives a drawing a three Alimensional, reali look ands vse! 1 ‘ran pesple tees ane xher lisa beings HOW Chisel the point, twist the pene, and apply eared presaure tn create efferent Uickneses of fine. Were li bits om Dbjet he line becomes thinner or lighter than in shadow, where the tine should Hike oF heceme darker 18 Same Line ame’ lies one thats even thickens tnd darkness thresghout, There are no lines in our surroundings, devotee sing ‘he same line weight wilallow a drawing co achieve 3 move reise appearance, om: Select & line weight and apply it Ahreughoue the drawing. Sometimes i i fecesiry to use different lise wigs Aiferentatecistances fem the obncrve. thisease, use a sequential ine weight wing the thinnest fine for ebjets fates. om the sewer a medi line for the mide ‘sound, ana hens ine forthe foregrouiel The bigger 4 drawing, the thicker the ine that mas be applied to achive cea, uthoigh thi does not neces price a eae quahiy doing 14, Thier Line sect thin, lightweight ines Moughout a drawing gives ta soft, often like ap pear ance, Heavier Hines re sommes uel treate a bigger drawing, however, because they are ean to ead How. \pply thi lines thro the crave ing, The ine wrighe wed will end pn the size of the Wawing and the dei Sue 15. Puneh Line Apuneh tine also known ata proline, fe slighty heavier fine used to outine an object that isnot well defined. Because i. gives. bold lose appearance, it isnot used fnefined work. However, can be wed on pian, elevation, and section drawings HOW: Use the sn lise weight thronghout the drawing, den use a heavier line weight ‘eruline he ject hat yo wan to dele, 18 30 Line Thick thin lines next each ther are together kiown aya -D lias they can ere ate a three-inpensinal look of faz ine image, and ada quality to deawing ‘ows: Ouilne fst with «thick live, then wil 4 thin line. leaving a space between them of about Ycinch to nc, depending tip the sie af the beet Za 17 Thin Thick Stokes The ouine oF a objec dare enough 10 eaniod dhe tne fine use duside the objec. Tne lines are thicker and lighter than te exthine ine PRINCIPLES OF GOOD GRAPHICS 7HOW: Lightly esl the point and daw the fnline of the ohject with thin Kine using firm pressure (use fuzzy line, hitego-hst ad ‘overlap conner techniques), Then chis he pint firther to cite @ wide stoke and Apply ne ites with es pressurelnsige the ‘bet, The tone inesshould have consistent thickness do aot ge hitgorbit strokes 0 void pipelite appearance f 1 Thik Strokes Use thick fzry lines to create toned faves, Thick stokes help to complete a drawing quickly and erate a smooth tone ‘hiet HowPChise the peneiliots widest point and Gras, Saftdead peneile such ay 6B. are 19, 45.00q0e0 Stoke {sero of pale fuzzy lines hatare abeatt “65 degrees ro the eige ofthe page are any td quick Wo draw. They create conistency find sleek appearance in a drawing. now: Draw from top batons sng the pene slide igs when rewrn: Jig to he top of the next Hine. Do not draw back and fort, 20,Gradl Value Cnange Light reflection causes @ gradual value change in every object. Although the hu fnan ese does not inmeditely perceive sralual vane change, femnst be eee in the deawving for a more realistic look. ow Chisel the poine and use a 45degree stroke ro ae tne nes frm Kf to 1 ‘vhile gradi reieing presae Tram, dark to ight. (A lefohanded person should rat lines from Hight to Jlt.) Absa alle the strokes to tach cach other leaving & fp oceasinilly to suggest the Weice single 21. Over Ege Inthe overcdge che, while applsing ‘gradual value change to an object, allo ‘omne of the lines to osclap the edge ofthe ‘bject slightly. This creates a not, Inote fee. How: Wien applying value to an objet in teabonally overlap the edge wih same oF the stokes How mich eserlap depends tupan the refinement of the drawing 22. Stipes Stripes are used to ereote interest, dep and movement, ad 1 show shadow pa ters and angles of slope. Suipes also give the drawing slick appearance ow: Use any mein anal stipes tans domly at acy an 8 DRAWING AND DESIGNING WiTH CONFIDENCE Doss create textare nel detail sane ean be toed (6 create grata wale change owe Using an apptoprate lite weight, bold the pen/neneil serials to oil dra sng, ppl dots randoms aE Composition 24, Stare Sal Starting «drawing om a siall scale, a ‘nun setch, enables you to study the overall value and comporition exsiA ‘ovallsketeh als aes les ine fo vomplece than larger formats ad slows you to work tout probleme that aight ruin a aoge tras. Yow Begin with 9 sheet of paper no larger than 8! by Ul inches. Complete 2 single {Uraning which you can use aa stay ea Ing or can enlarge t9 any desired size f other purposes. ken when too rch ve is spent on a drang, i becomes exerworked and losesfone of the most important pringples of iraphies: white space. Appising ss ine tag produce beter dri HOW Allo youself iid sme to spend ‘a driving nn when the ime is, Sop. Remember, you can never do a "pesfeet” iirawing no mater bow muuch ce ya ale Tow; even the beat denen will have room for improvement 28, Don Touch Egos Be carelul ot to tines touch the edges of the paper, and leave a white border slong the Edge of a drawing. This helps ta assure Sufficient white spac and to ereate a good Figcrag composition. The doxtewac-edges treatment gives the deawing a framed fect, a principe that applies to framing pete HOW Allon inch to-inches of whive space along the edge of the paper. depending Spent the size of the drawing andthe ‘composition, 27. White Space White space s ane ofthe most important cements ima drawing, hecause it coat tates te rig-g 28) ass/¥o! (8). The fhuman eye, upon opening. sees white be: fore black ‘Therefore, leaving whitespace vv tact attention toa dein, HowPlacea W" inateas tobe eft white oe light values this erven sa reminder when rendering. Alolimithe ine spent ovoid twerworking, Whitespace does nol neve: ari ae be pre sites team ao beat light value of any color: Ps Ina zig-zagcompostiom the fen edges a drawing do not assume a regula geomete ‘ilshapesuchasa square, tuanglesor cee Fstabinhing a sgeag creates variety and teal, How obreak the geometrical shape, sate- fly place deta such as furaitre, lage, Fountalns, plants, people, trees, benches, and ear in she drains to erate viz, 0 Taneven edges by jutting nut oF mini dt 29. Dadight Dani Light fused o give the subject of 2 drawing, such asthe corner ofa bulding,® ddarkalucon on side anda light one onthe ‘other side. Thisereatesa three mensional image How: Au the comer of subject, make one Side the smaller ot shady side, say ern the drawing’ light sore) atleast twice as fark asthe other side Ge larger or ligter Side). This must be apphed consistently thoughout the drawing according t0 the position ani quality of the igh sure i 20, Messed We ident abject i the environment by Aheirstspes, and by the efferent values of fe next t the ether: for example, dark fas next to ight road, ora dark building figinst alight sky. Proper use ofthis pring ple of mas (dak) to sie light) helps 10 arty eltforent mater nthe drawing, ‘HOW. When material change in a drawing Apply a dari value on dark material (mass) Andalight alec the fight material (0 er esimple th ulin (nas) shoul he place nen coaligh sky (oie) and dark [gta (nas) should be ext 0 9 ight road (oid). Thi helps to emf the fferem materials and to create a goed fig composition, salir be 1. Value Connaot the contrast of mass void istou great. spott appearance screed, Value connest ‘orrece this by joing the davk and ight ‘ales with a mest toe How: Study the arangement of values as Signed to each subject in the draveing #0 hake certain that no very dark and very Tight values are next ca cach eter PRINCIPLES OF GOOD GRAPHICS 9ioe 32, Shade and Shodow Shade and shadow prenige punch, depth snd realm, and make 2 dewinge more rele How Stacow only certs on surfaces that feceive a Bight seuvee, and never on the Shadesde. Themnre recessed anobjec ihe freater the shadow received, Double’ the Salue from sunny to shade Surface, and frou sade te shadow surface in créer 10 achieve a ee-dinensianal appearance a fn objet, ) seg 58. Asymmatice An asyennetricl composition crates inter fst and excitement, etalishing # realistic feitng and aveing monn ow Useciferentclements suchas people, Sgetaton, cas, a frnitne to achiexe a repeal bane i cede ssa hat ‘omy ao ave balance, Avoid sysumetsiea placement of objects Generally speaking one can never see the ye line (hori live dnless everooking, the ceeat ora linge lake, Therefore hiding, the eye line cin make the drawing mone relate and pleasing to the eye. HOW: Obmcuse the eve line with entourage such as people, trees, eats), ings. 35, Foe Point The center of the drawing is the focal point sae usually rw This iy atthe physical center of the ow Provide wave dest an darker values tora important part the Foal pointe the Shaving, sil allowing white space within, “This metbud is used when less tine is aval able co spent a drawing nother cases the dark foreground background Imebod used (se below), 26 Dar Forgroune/ght Backaround Teatute oes appease dest near cet the viewer and gies furthest sway in the buckground, There is a gradation of ‘ales trom foreground to background, ‘How: When rendering, use ight wales in the background, gradually dackening them foward the foregroand. This method takes time to etmmplete and ie best applied tare Fined sawing. 10 DRAWING AND DESIGNING WITH CONFIDENCE are ‘CoLon ¢ =” a ie eet ee ee eer ee ee adjacent but uzimined excite eaeh other (sen aed, they create an eat tone ow. When rendering, ad toa main col a ‘all anoune of ts complementary: ved fect gris and ree, for example, of oF Ege to ble sb, or yellow to a purple ca pet Aineaay way toremember the color jit {sto apply the promary afer thee fa gerne hens ofthe wo ingers ae put Tighe, the color the ereate i the ctor pair ko the coor ou the finger remaiving Bhnther easy way to rememier ale pis to aesocite red an green ith Christinas blued orange wich the sunset, apd yellow and pple wit the iis29, Color Net Calor nest isthe use of ehive seqential colors fromthe color wheel, Tecreates hit mony and qpadual value change, ad is pleasing to te eve How: According to the calor wheel, use soups of theee canseeive woos, Far ex Ample calor next ofa ae will onan yellow, green, ane be, whl ts co pa is fed, Therefor, all the above colors shall be inlded when rendeving a te, 49, Color Rainbow Rainbow colors create i and color in aa La OW: [code a Hast six dominant eaters fromthecdlor wbeeland beet ftrershates from esch clon, Thistechnique will encoa [pas most ofthe presinus color principles. Use the color repeat discussed below to schicve vraliey Srori. Because coors bounce hack snl forth, ob Jee in the environment receive all seven coors inthe spectrum: For example, 2 ue feontains al clus, bur green is most dom nant Oncea colors se ems be applied throaghoat the entive drawing. This is nn as coer repent ie prodces a mone reallaic and pleaing elfen since i isthe vray we actually see Now: Ccea colo is used repeat ion every obi ain cnt Ue eea lish dominance: mane green on eres, more eden brick, more blue ta the ks, and soon. 42, Color ight Calor light means working fom light «2 sdarkint drawing, The hustan eye see ally kel see ight colo, fist maling the tse of eal ight a good way For the bein her 0 work {How Apply te lightest colors ie toh ‘out the drawing. Gradually bull up tad darkest colors 43, Color Soa ‘Color solids similar to pai by-nuanbers, ‘bat shen combined wit the prisciples of stadual value change sed stipes, color Solid eeates a snooth deck look sn voids Spottinest. Tie method enn alsa produce masvvoid in drain HOW: Apply cco to an entive area, suchas grass, entpet, or bing, hile stl min taining some white space and gradual value change, Remenber to use colle part ere 4, Color Connnct Too much white space between colored ob jee can ereatesptiness. Color conect pulls drawing together wit tints and i ermediste colors in same of the white spaces ‘Howe If pesie, do nt llow whitespace co surcoura an object completly Use alight Color it white space to conned sno objects far example, color the woad Bight gray ta connect the gras on uth sides. 04g 48, Calor Earthy ‘Our eyes scate. forthe opposite elor on the coor pir When we see een, e romsciaay ace ve, When we see light or white, we theretore sce dark or lack Hence, i there is an existence of light. an cevthy tone of that color is needed in the ‘Granting in order to represent the way we ow Shade he objec with black or ni the coor pair o create a earthy tone. Outi ing the drawing with brown or black vail alo provide the drawing with definition and sntermis right green tree en be PRINCIPLES OF GOOD GRAPHICS 14toned down with black orc, al ean also be vtined sth black. Inthe drawings of «shed (fg. 2-2) he forty five principles of graphics are successfully applied. The same sibjee is repeated in fica sheila witha differen combination of {hese principles to make the drawing move secre “The sheiches ofa harm (ig. 23) illsrate a comparison sty of good and lad graph ics Ure of theferpfve principles willl sou te make fewer mistakes saving inte al Enhancing vou deawving ality “The following igs. 2-4 and 2-9) 0 em parison study of sinilar spaces drawn and Alesigned either poorly oF mice Accom panting the diswings ate comments ex planing what ie wrong ana eight and what fan be de to mpreme them Te evient Uatifyotcan draw wel yeu can mos likey iesign well Se, be loose, practi, and dra ‘raw dra Following are ght sets of heforeatter ewig igs 26 and 2-7) done by pari. pants who attended the authors gcaphic Workshop in Manbatan, Kansas. ‘The be: fore drawing was drawn in ane hour when the partiepantfetarrive, Their dra Iign22 Toes Ree grtegem, ML Ge Wosnop.Percledeasrednenston Aken seperoneh, 01S ing was completed in hetween one co three mutes ach hous including designing tine. ater the participant had seadied all the principles of ood graphics for a period of 610 10 days ‘The dramatic improvement is proof that daygone,regavdles of “alent” or sil. with, ‘ewledge of the principles in his books can dea wel “The aionslsamplosdemonsrate var ous types of drawings using differen prin tiple OF graphics digs. 28 0 2-12, 12 DRAWING AND DESIGNING WiTH CONFIDENCE: = oenee — ade ssn Prtorsional goa crofetsanal do ‘wssing: Fecal point fuzzy ne, and co spot ‘Good use of Fury fe, Ngo. proossiona crap comer ara vanabie tne {ep otoleesonel co, and overnp ern log White eo3e0 zigzag, and doit Masing hitgoont, sS.09ate stoke, ocd ue ot 45-dogee ace, gral vaio touch aes sno spay. ‘hange.tg29g foe! pin, and asso Mesing: White soc, ceo anbow and ing Color rot color indo, an (Goud use of: Cok pai clo nex, clr 0 gh calor arty raion, colt repeal and lr enthy Fi 24S tit donate PRINCIPLES OF GOOD GaAPHICs 13ft Mer ot: le saa oy Mi Grapne Wakao Maas coered pal aa itr ei 199 howe ooh. 1 eonty Belo Marg qr as chang 14 ORAWING AND DESIGNING WITH CONFIDENCEFigme 24 in) To On woofer ee rou om ee 1g coer ron edor eget, ad cobrR. afar. Moor geal vie carpe, ‘Goon CA At: Goo uso wir aa ale ca at ak 294i fel poorly poe ator: eng toner in, sro we pe, 1 ORAWING AND DESIGNING WITH CONFIDENCE naga on al pore po" ues a lel Kt, blr dawg: rt | our tr swing. ehh dey on. ‘Beton: NamaPialia beforehand hy. 2 hore, Patent Graph Wlsaatoy Maen cated pe ol pn rr 2igre 2.3.99 CR tes Coos ck ctl ad ae ag mae oe poet sleep akon Sere “ep Curt aoe tore fs doy | Rou ater daira A 1 noe Bato rey ing toy va Pas ate 1s fap pon an 182" ‘Baton CAT: PRINCIPLES OF GOOD GRAPHICS 17PRINCIPLES OF GOOD GRAPHICS 21