D317 - Illustration Second Sem. SY 2020 - 21 By: Arnedo O. Santos

Bulacan State University
Bustos Campus
College of Industrial Technology
Drafting and Digital Graphics Technology
D317 – Illustration
Second Sem. SY 2020 -21
by : Arnedo O. Santos
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Republic of the Philippines
Bulacan State University
City of Malolos, Bulacan
Tel/Fax (044) -791-0153
Office of the Dean of Instruction
COURSE SYLLABUS
COLLEGE: BUSTOS CAMPUS DEPARTMENT: CIT
COURSE CODE : D-317 COURSE TITLE: I LLUSTRATION
FACULTY: Arnedo O. Santos :
CONSULTATION HOURS:
COURSE DESCRIPTION:
The course DT 319 - ILLUSTRATION, deals with the elements and principles
of figure drawing. It intends to develop capabilities and techniques in figure drawing
using the scale of decorative anatomy and the application of rules in basic and
advance picture making of penciled figures.
LEARNING OUTCOMES (LO):

On completion of the course, the student is expected to be able to do the following:
ATTRIBUTES OF IDEAL LEARNING OUTCOMES (LO)

GRADUATE (AIG)
Highly competent LO1 Draw basic and advance penciled
figures skillfully with consideration to the
elements and principles and techniques in
figure drawings.
Ethical professional LO2 Perform one’s work to express oneself
with due recognition to others’ works.
Service-oriented L03. Consider the needs of people as they
may solicit one’s talent in expression of art.
Contribute to country’s LO4. Willfully involve one’s skills in the
sustainable growth and preservation of the country’s culture and arts
development in the interest of the next generation.
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FINAL COURSE OUTPUT:
As evidence of attaining the above-mentioned outcomes, the student is required to
do and submit the following during the indicated dates of the term:
RUBRIC FOR ASSESSMENT OF LABORATORY ACTIVITY:

Name:_____________________________________________
Subject Code: DDGT 121b Subject Description: Illustration
No. CRITERIA POSSIBLE EARNED

1. Steps are followed carefully. 15%
2. Tonal values are applied properly. 35%
3. Activity is done with balance and proportion. 30%
4. Activity is neatly done. 10%
5. Activity is done on or before the due date. 10%
TOTAL 100%
RUBRIC FOR ASSESSMENT OF PERFORMANCE TEST:

Name:___________________________________________________________Sub
ject Code: DDGT121b Subject Description: Illustration
No. CRITERIA POSSIBLE EARNED

1. ACCURACY(Graphing Scale, Balance and 30%
Proportion )
2. RENDERING( Tonal Values ) 30%
3. NEATNESS AND SIMPLICITY 30%
4. SPEED 10%
TOTAL 100%
OTHER REQUIREMENTS AND ASSESSMENTS:

Aside from the final output, the student will be assessed at other times during the
terms by the following:
● Exercises
● Mid Term and Final Examinations
GRADING SYSTEM:
At the end of the term, the student will be graded according to the following criteria:
CRITERIA GRADE
I. Work Ethics 30%
Attendance 10%
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Attitude 10%
Work Habits 10%
II. Knowledge 30%
Day Activity 10%
Examination 20%
III. Skills 40%
Projects/Plates 40%
TOTAL 100%
1. Finished activities in tonal values

2. Shaded activities of human anatomy and facial expressions.
3. Rendered portrait of an old woman/man.
LEARNING EPISODES:
Learning
Topic Week Learning Activities
Outcomes
● Introduction of The students will be oriented about
1 the Course the course and its requirements
● Overview of the 1 and policies.
course,
Requirements and
Policies
The proper uses of the materials
● Basic for shading drawings will be
Techniques in discussed and demonstrated for
LO1 Shading Objects I-2 the students to prepare their own
LO2 ● Right Materials for materials afterwards.
Shading 3-4 Students will be given exercise on
● Value Scale the pencil value scale for them to
● Shade Application 5-6 distinguished the difference of
● Scaling Photos each tone.
To further practice blending of the
tones, the students will be scaling
photos to be transferred on the
drawing paper where they will be
finishing with the proper shading
techniques.
● Drawing the The students will be studying the
Parts of the structure of the human face and
Human Face render them separately with the
LO1 ● The Eyes observation of the elements and
LO2 ● The Nose 7-13 principles and techniques in figure
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LO3 ● The Mouth drawings. They will be finished with
● The Ear shadings.
● The Hair
● The Face
Mid Term Examination

● Expressions of In application of the structure of the
LO3 the Human Face human face, the students will be
● Fury, Fear, 14-17 rendering the different facial
LO4 Annoyance, expressions with the proper
Anger, Disgust, shadings. The students need be
and Horror more confident in applying the
techniques learned.
Final Examination
REFERENCES:
Evan, Larry. THE COMPLETE ILLUSTRATION GUIDE. New York. Dorling and
Kindersley, Ltd.,1993
Leome, Andrew. FUN WITH PENCIL. London, Merlin Publishing Ltd.,1991
Peppin, Anthea and Williams, Helen. LOOKING AT THE ARTS. W. S. Saunders
Company, Philadelphia, London,1951.
ONLINE RESOURCES:
CLASS POLICIES:
Harmonious relationship and devotion to work. To develop such, the students abides
by the following:
● Obedience to University policies on wearing uniform and ID;
● Regular and punctual attendance to class. In case of absence, an excuse
letter properly signed and supported with the Xerox copy of the guardian’s ID
with the corresponding signature;
● No instruments and materials for the activity, no entry;
● None cellphone use during class hours;
● None repetition of activity to develop care in its execution;
● Submission of required activities on or before the due dates;
● Starting new plates at the same time;
● Housekeeping participation and a graded daily accomplishment;
● Do-it-yourself policy;
● “No incomplete” policy regarding final grades;
● No foods/drinks allowed inside the classroom;
● Demonstrate obedience, courtesy, industry, honesty, and self-discipline in the
study of the course.
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Prepared by:
ARNEDO OCHOA SANTOS

Drafting Instructor
Checked by:
Engr REMEN ROBLES

Program Chair
Noted by:
DR. FELICIANO B. SANTOS JR.

Department Chair
Recommending Approval:
DR.EDITH NICOLAS DE REGLA

Campus Secretary
Approved:
DR. CIRIACO M. GARCIA

Dean
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UNIT 1- Basic Techniques in
Shading
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LESSON 1
The Pencils, Papers, and Erasers You Need to Start Illustration
The materials needed to begin drawing are simple: a tool with which to make
a mark and a sheet of paper on which to make it. Pencils and paper are the
starting materials for most people.
As you grow as an artist, you will soon find that you want to try out different
techniques and new materials. Despite many technological advances, artists’
materials have changed little over the centuries. Nowadays, most materials are
easier to use and there is a wider range of pigments available, but essentially,
the way we use them remains virtually unchanged.
Fortunately, most drawing materials are relatively inexpensive and capable of
producing many drawings before they need to be replaced. It is recommended
that to avoid unnecessary expense and disappointment, buy moderately at
first. Begin with a medium that appeals to you and phase in others gradually as
you feel the need to broaden your range and refresh your approach.
Graphite pencils
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The “lead” pencil is familiar to everyone, however, it is not and never was made
from lead but from graphite, a type of carbon that is mixed with clay and baked.
Graphite pencils are best sharpened using a sharp craft knife rather than a pencil
sharpener. They are graded from hard (H) to soft (B). 9H is the hardest whereas 9B
is the softest, with F (for fine) and HB in the middle range. H pencils (2H, 3H, and
4K; they progressively become harder) are good for clear-cut, light lines, but will
scratch into the surface of your paper, so B pencils are better for softer, tonal
work.
Each grade of pencil will only produce a tone of a given darkness and no
amount of pressure will make that tone darker. If you require a darker tone,
you will need to switch to a softer grade of pencil. Soft pencils will give a
greater range of tones than hard pencils and can be erased without leaving an
indent should you make a mistake. It is for this reason that most drawings are
made using a pencil which is HB or softer. Aim to use a 2B or 3B to start your
drawing and switch to a softer—or blacker—pencil, such as a 6B or a 9B, for
deeper tones.
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Most mechanical pencils, also known as clutch or propelling pencils, are good
for precision work, but the softest grades are not easy to find.
Pastel pencils
Pastel pencils are made from a strip of hard pastel secured in a wooden barrel.
Avoid dropping them since the soft pigment strip breaks easily. These pencils
are harder than soft pastels and look like colored pencils, although they have a
scratchier, chalkier feel. They are good for detailed line work, as well as
shading, as they are non-waxy and can be blended well.
The mark made with a pastel pencil is not permanent and will need to be
sprayed with a fixative (see more on fixatives below). These pencils are very
easy to work with. There is a wide variety of strong colors available. They are
perfect not only for finished drawings, but also for quick sketches and are
especially effective when used on a colored paper.
Colored pencils
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Colored pencils are made in much the same way as graphite pencils. The
pigment is mixed with a clay filler and a binder. Wax is added to act as a
lubricant and help the pencil slide smoothly over the paper.
These are available in many different colors and forms, such as standard,
water-soluble, and thick- and thin-leaded, and they vary in quality and
softness. Unlike pastel pencils, colored pencils do not need to be sprayed with
a fixative. Some colored pencils make sharp, definite lines, while others are
softer and can be blended more easily. Layering colors will produce different
shades and unexpected results can be achieved by using the same group of
colors in different sequences, so it’s worth experimenting to find out the best
order for a particular shade.
Conté Sticks, crayons, and pencils
Conté sticks, crayons, and pencils are natural pigments bound with gum Arabic.
Conté sticks (also known as carré sticks) and hard chalks or pastels are ideal for
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making colored sketches. The most popular colors are earth tones—white,
black, grays, browns, and rusts, such as sanguine (a reddish brown) and sepia—
but they are also available in a wide range of other colors. They work
particularly well on colored paper and can be used with other dry drawing
media. While the pencils are more suitable for line work, the sticks can be used
to block in larger areas of tone. They can be smudged and blended but are not
easily erased.
A wide range of conté pencils are available in the traditional colors of black,
white, sepia, sanguine, terra-cotta, and bistre (a grayish brown). Artists’ pencils
resemble traditional graphite pencils but are also available with a rectangular
profile. Some of the pencils have a wax content that enables them to be used
without fixing, but other pencils are chalkier and will require fixative
protection.
Charcoal sticks and pencils
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These are essentially charred wood and are one of the oldest drawing
materials. Made from carbonized wood (usually willow, but beech and vine can
also be found), the sticks are graded as soft or hard and come in four
thicknesses: thin, medium, thick, and extra thick sticks. (Extra-thick sticks are
also known as “scene painters’ charcoal.”) Thin sticks work well for fur,
feathers, and other fine detail, while block charcoal works well for large areas.
Compressed charcoal, also known as Siberian charcoal, is made into a pencil
with either wooden or rolled paper barrels, and is cleaner to use than
traditional stick charcoal. It is graded by hardness and density and can be
found with both round and square profiles. They produce darker, sharper lines,
which are difficult to smudge or blend.
Sharpen all charcoal by using a sharp utility knife or by using a fine-grade
sandpaper. Charcoal dust sits delicately on the support surface and will need
fixing to avoid being smudged.
Graphite sticks
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Graphite sticks are a popular alternative to traditional pencils. They lack the
wooden casing found in pencils and are basically a thicker version of the
graphite strip found in the center or a pencil. Available in HB, 3B, 6B, and 9B
grades, they have several advantages over the traditional wooden pencil. The
barrel shape is round with some brands coated with a thin layer of plastic paint
that is removed as the stick is used, which helps keep the fingers clean.
The shape of the stick means that as the stick is sharpened a large area of
graphite is always exposed. This makes it possible to create not only fine lines
—which can be made into very thick lines by altering the angle at which the
stick comes into contact with the support—but also broad areas of flat tone.
Like pencils, they are good for sketching and blending.
Shorter, thicker, hexagonal sticks are also available in a similar range of grades,
as are smaller rectangular blocks. Both types of stick are best sharpened using
a pencil sharpener or with fine-grade sandpaper. The resulting powder can be
rubbed on to drawings to create areas of tone. Larger quantities of dust can be
purchased from art stores.
As with traditional pencils, barrels that operate with a clutch mechanism can
be found that hold thicker, softer-grade graphite strips. When using very soft,
thin graphite sticks, take care when pressing hard as it snaps easily.
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White chalk
This is available as a hard stick for detail and fine marks, or as a soft pastel that
can be blended more easily.
Pens
A very large range of pen options is available—so much so that it may seem a
little overwhelming. Technical pens are convenient to use for fast sketches, but
their nibs make unvarying marks. Fountain or cartridge pens, roller-ball,
ballpoint, fineliners, and specialist art pens come with a wide range of nibs and
can be used for both quick sketches and more detailed drawings. Ballpoint
pens can be smooth and satisfying to use and are convenient for sketching. All
pens can create fine, flowing lines, with smooth and subtle results.
Although there are so many pen types, most have the same drawback—the
size or width of the line from a pen is fixed. It is important when using these
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pens to experiment in order to find what is or is not possible. The pens deliver
essentially linear marks, and tone is only achieved through some form of
hatching or cross-hatching. Some pens, however, use water-soluble inks
making it possible to pull out tone from the line work by using water. Pens that
use water-soluble inks are especially useful as it is possible to rewet areas to
lighten the line work and pull out areas of tone.
Brushes and dip pens

The traditional tool for applying ink is a brush. For applying washes of ink or
watercolor, good-quality sable brushes are best. They hold a large volume of
liquid and, if looked after, keep their points well.
Dip pens are pen-holders with interchangeable, flexible metal nibs. Certain
nibs only fit certain pen barrels, so try before you buy. You may sometimes find
that a new nib is reluctant to hold ink, but rubbing a little saliva on to the nib
can solve this. Pointed nibs are good for drawing the figure, although square,
chiseled, and rounded nibs can all produce interesting results.
Alternatives to the steel nib are the traditional feather quill, bamboo pen, and
reed pen. Quill pens made from goose feathers are a delight to use and give a
wonderfully sympathetic and expressive line (though they will need to be
periodically recut) . Pens cut from a length of bamboo will vary in size and
thickness; they are durable and ideal for textural work. Reed pens are similar
but the cut nib is brittle and tends to break; however, they are easily recut
using a sharp craft knife.
Ink
Drawing inks, available in a range of colors, are either waterproof or water-
soluble. Water-soluble inks are not as widely available as waterproof inks. Both
inks can be blended with water to create tones, but whereas waterproof ink
will dry fixed, water-soluble ink can be re-wetted and re-worked. Water-
soluble inks enable the artist to soften line work.
Perhaps the best-known ink is India ink. This black ink is in fact from China and
becomes a warm, deep sepia color when diluted with water. It’s waterproof
and dries fast.
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Sharpeners
Sharpeners come in many different forms. A sharp craft or utility knife is best
for sharpening wooden-barreled pencils, Conté chalks, and carré sticks. They
allow you to sharpen the point of your medium to suit the type of work you
are doing—such as long, short, or angled. They are also excellent for trimming
dirty edges from erasers.
Pencil sharpeners make a neat point and are best for graphite sticks, but you
need to ensure that the blade is always sharp before use. Fine sandpaper
blocks are also a great option for keeping the points on graphite sticks in good
order.
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Erasers and stumps
Erasers are useful for rubbing out mistakes or for blending. Putty erasers, also
known as kneaded erasers, are soft and malleable. They can be shaped to
erase precise areas and for “lifting out” highlights in heavy tonal areas. A
disadvantage to using putty erasers is that they get dirty quickly when used
with charcoal, soft graphite, or carré sticks.
Harder plastic or vinyl erasers pick up less pigment and stay cleaner. They can
be used on their edge to make crisp, incised lines in areas of deep tone;
alternatively, use the sharp corners to make patterns and describe texture.
They also remove stubborn pencil or graphite marks and small errors. Care
must be taken when using hard erasers so as to not distress the support
surface.
For blending charcoal, chalks, and pastel pencils, you may want to use a paper
stump called a torchon or tortillon. This object is used to manipulate and blend
loose pigment, pushing it into, and consolidating it on, the paper’s surface. As
the stump becomes dirty, it can be cleaned by rubbing it with fine sandpaper.
Fixative
Fixative is a resin that has been dissolved in a colorless spirit solvent. It
prevents drawings made with pencil, charcoal, or other soft-pigment materials
from being smudged. When sprayed on to a drawing, the spirit solvent
evaporates and a thin coating of resin is left behind, which binds the pigment
dust to the support. Once fixed, even an eraser cannot alter a drawing. It is
possible, however, to work on top of a fixed drawing and it is common practice
to fix a drawing periodically while it is being made. Fixative is best applied
using a CFC-free aerosol, following the manufacturer’s instructions. Bottles
with a hand-operated spray and a mouth-spray diffuser are also available.
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Papers and supports
Certain papers work best with certain media so it pays to match the drawing
implement to the support. There are three distinct paper surfaces.
Rough is, as the name suggests, a paper with a pitted, highly textured surface.
It is best suited to bolder, expressive work using charcoal, chalks, pastel
pencils, and soft graphite.
Papers with a very smooth surface are known as “hot pressed” due to the fact
that when being made the drying sheet of pulp is passed through hot steel
rollers. These papers are best suited to pen and ink work, wash drawings, and
fine pencil work and are less satisfactory when used with softly pigmented
drawing tools like charcoal and chalk. This is because the pigment dust needs a
textured surface to cling to.
Papers with a medium textured surface are known as “cold pressed” or “NOT”
(meaning not hot pressed). Papers in this group work well with most drawing
materials and are perhaps the most widely used types of paper.
High-quality paper, usually labeled “acid-free,” is neutralized to counteract
acidity and will not become brown or brittle. Cartridge (standard drawing)
paper is the type of paper most often used for drawing. It can be white, cream,
or colored and is available in various weights, sizes, and qualities. Watercolor
paper is available in various weights and is good for all kinds of drawing.
Pastel paper comes in a range of tints and has a “tooth” or grain, which is
designed to capture and hold the tiny particles of color. One side of the paper
is usually textured, which is the side most people draw on, but you can use the
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other side if you prefer. Pastel paper comes in two weights; thicker paper can
take heavier rubbing and reworking than lighter paper.
Paper can be purchased as loose, single sheets or in sketchbooks and pads.
Single sheets enable you to try out several different papers and can be cut or
torn to size. When drawing buildings on location, however, you will find using a
sketchbook invaluable. They are made with paper of various surfaces, colors,
and weights, and come in many sizes and bindings in both portrait and
landscape formats. Pocket-sized books can be carried anywhere, but may be
restrictive when you’re tackling larger subjects. Big sketchbooks are tiring to
hold, but offer adaptable space, with the option of making several studies on
one page.
Drawing boards and easels
If you are working on single sheets of paper, you will need to secure it to a
drawing board. It might sound obvious, but make sure that the board is large
enough for your paper and that its surface is smooth. Rather than use drawing
pins to secure the paper to the board, invest in a couple of spring-loaded board
clips. You can buy a purpose-made drawing board from a good art shop or use
a sheet of plywood or MDF (medium density fiberboard).
If using sketchbooks or paper secured to a board, it is not necessary to have an
easel. However, if you find yourself working a lot in locations where it is
difficult to find somewhere on which to rest a board, you may find it
advantageous to invest in a portable sketching easel. Easels come in many
sizes, so choose one that you can sit or stand at comfortably. Some easels fold
away into a drawing case. The most important consideration here is stability.
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Lesson 2
Techniques in shading the Object
Shading Techniques for Drawing
Techniques used for applying shading to an object are quite varied. Each
technique produces a different texture and "feel" to the drawing. The drawing
medium used may determine the shading technique that is applied in the
drawing.
The most common application techniques include:
Hatching - Lines drawn in the same direction. By drawing lines closer together,
darker values are created. Leaving more space between lines results in lighter
values. For rounded objects, the lines may curve slightly around the form -
following the contours of the object.
Shading with hatching
Cross-Hatching - Lines cross over each other. The density at which the lines
cross over each other determines the value that is produced.
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Shading with cross hatching
Blending - Smooth gradations of value are produced either by adjusting the

amount of pressure applied to the medium or by using a blending tool, such a
blending stump.
Blending
Rendering - Using an eraser to remove the medium to produce lighter values.

This technique is typically used in conjunction with blending.
Rendering
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Random lines - Loose applications of crossing lines. The frequency in which the
lines cross over each determines the value produced.
Random lines
Stippling - Applying countless small dots to build up darker values in a drawing.

The density of the dots determines the value produced.
Stippling
Applying What You Have Learned?

It is not enough that you learned concepts in Techniques of shading . Make
sure that you can demonstrate your skills as well. Do this activity.
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ACTIVITY : Plate no. 1
Title : Techniques in Shading the Object
Instruments and Materials Needed:

● Sketch Pad (Spiral Art Attack Brand, or any brand that the surface of the
drawing is smooth) Size: 9in x 12in/ 229 mm x 305mm
● Mechanical Pencil 0.5 /pencil HB (Staedler Brand)
● Technical pen (Brand:UniPin) Pen Point - 0.1 or 0.2, and 0.3
● Calligraphy pen 2.0
● Gum Eraser
● Triangles
● Cotton balls
● 6B Pencil ( Staedler)
Instructions: Plate making : Draw the borderline and title blocks first. Follow
the dimensions required, like the sample below.
a. Divide the drawing surface into six equal parts horizontally.
b. Redraw the following techniques of shading on the given surface.
1. Hatching
2. Shading with cross hatching
3. Blending
4. Rendering
5. Random
6. Stippling
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Lesson 3
Lesson 3 : VALUE SCALE

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The Illusion of Light
It's easy to get caught up in the technique in which the material is applied and
loose sight of the reason why we apply shading in the first place.
Light is how we see, after all, and shading informs us of the light within a
scene. We understand the light within the scene through the use of value
and contrast.
Value is the darkness or lightness of a color. Light values are called tints and

dark values are called shades.
Contrast deals with difference. Contrast is produced when any difference
between elements such as texture, color, size, or value occurs. It can be subtle
or extreme. When it comes to shading, we are mostly concerned with the
contrast that is produced from changes in value.
When light hits the subject, it produces a range of contrasting values. The
intensity of the light determines the contrast of values. Generally, the stronger
the light - the higher the contrast.
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Values are arranged on the subject according to the location and intensity of
the light source (or sources). To simplify the manner in which light behaves on
a subject and surrounding objects, we'll look at what happens with just one
light source on a smooth surface.
The locations of each area of value on the subject tell the viewer about the
location of light and how the light behaves on the subject. The behavior of light
(or how it is reflected) on the subject informs us about the texture and form of
the subject.
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Pencil Drawing- The Guide to Graphite
Take your pencil drawings to the next level. Learn how to master the medium
of graphite in this comprehensive video course.
Locations of Value:
Highlight - The highlight is the location on the subject where the reflection of
light is most intense. Highlights are typically indicated by a very light value of
the color or in some cases - white.
Mid Tone - Mid tones are areas on the subject where some light is hitting, but
in a manner that is less intense than the highlight. In many cases, the mid tone
is the actual color (local color) or value of the subject.
Core Shadow - The core shadow is the area on the subject where light is
prevented from hitting, producing an area of shadow. Core shadows are
typically darker values of the local color.
Cast Shadow - Cast shadows are locations of darker value that result on
surrounding objects or surfaces. Light is blocked from reaching these areas
completely because another object is reflecting much of the light away.
Some light is reflected back off of surrounding objects and surfaces. This light
bounces back onto objects producing an area of lighter value.
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This area of slightly lighter value is referred to as a reflected highlight.
How to Shade Forms
As mentioned before, shading also informs the viewer of the form of the
object. With a sphere, the change in value is gradual (gradation). Value
becomes darker or lighter, depending on the lighting conditions. The same is
true for other curved forms such as cones or cylinders.
For objects with flat sides (i.e. cube), the value stays fairly consistent for each
side without much gradation. Each side of the cube may be a different value
representing the highlight, mid tone, or core shadow.
But what about objects that have flat sides or planes that aren't cubes?
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It is these situations where contrast plays an especially important role.
When shading, our goal is to depict the illusion of form and light. In most
situations, this requires adding a full range of value. By comparing contrasting
areas, we can evaluate the value in the drawing and make adjustments as
necessary.
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During the drawing process, a dark background is added. Adjustments to the
values on the subject are made according to the contrast of values in the
background and the table. Comparisons are made and the values are "pushed"
in order to create a full range.
We can also exploit contrast to create edges and define the planes of the
irregular form. By making the edges of each plane that are closer to the light
source "a touch" lighter, we increase the contrast in value between each plane.
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How to Shade Hollow Forms
Many objects are hollow or have recesses. To address objects such as these,
we simply consider the direction of light, thinking of it as a line.
If light is coming from a certain direction, then it should continue until it hits an
object. If the object is hollow, then the light will enter into the recess,
producing an area of lighter value inside of it. Shadows are created on the
opposite side of the edge of the recess, closest to the light source.
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The outside of the hollow form is addressed as normal, with shadows further
from the light source and highlights close to it.
Controlling the Medium
No matter which medium that you use to apply shading, control over the value
produced is of paramount importance. The good news is that control over the
medium simply requires patience and practice.
Once you have a clear understanding of how light behaves and how you can
communicate it to the viewer, then you are already "half-way" there.
Practice drawing a few basic forms - a sphere, cube, and pyramid. Shade them
to communicate one light source using a full range of value. (Use contrast to
make comparisons).
Once you have mastered these basic forms, move on to irregular forms and
simple still life objects like apples or bananas. Look for the highlights, mid
tones, core shadows, cast shadows, and reflected highlights. The more that
you practice, the stronger you will become!
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It is not enough that you learned concepts in Value Scale. Make sure that you
can demonstrate your skills as well. Do this activity.
ACTIVITY : Plate no. 2

Title : Value Scale

● Mechanical Pencil 0.5 /Pencil HB (Staedler Brand)
● Gum Eraser
● Triangles
● Cotton balls
a.) On the given drawing surfaces redraw the sphere, cylindrical objects and
solid forms. Apply the shading techniques
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LESSON 4
The Grid Method how to use the grid method to enlarge or transfer an
image
The grid method is an inexpensive, low-tech way to reproduce and/or enlarge

an image that you want to paint or draw. The grid method can be a fairly time-
intensive process, depending on how large and detailed your painting will be.
While the process is not as quick as using a projector or transfer paper, it does
have the added benefit of helping to improve your drawing and observational
skills.
In a nutshell, the grid method involves drawing a grid over your reference
photo, and then drawing a grid of equal ratio on your work surface (paper,
canvas, wood panel, etc). Then you draw the image on your canvas, focusing
on one square at a time, until the entire image has been transferred. Once
you're finished, you simply erase or paint over the grid lines, and start working
on your painting, which will be now be in perfect proportion! Yay.
To use the grid method, you need to have a ruler, a paper copy of your
reference image, and a pencil to draw lines on the image. You will also need a
work surface upon which you will be transferring the photo, such as paper,
canvas, wood panel, etc.
To draw the grid lines on paper, I would recommend using a mechanical

pencil, so that you can get a thin, precise line. Be sure to draw the grid very
lightly, so that you can easily erase it when you are finished.
To draw the grid lines on canvas or wood, I would suggest using a thin piece of
sharpened charcoal. Again, make sure you make the grid lines as light as
possible, so that they are easy to erase when you are finished. The benefit of
using charcoal on canvas or wood, instead of using pencil, is that charcoal can
be easily wiped off with a paper towel or rag, whereas pencil can be more
difficult to erase.
The important thing to remember when drawing the grids is that they must
have a 1:1 ratio. This is very important - otherwise your drawing will be
distorted! Basically, a 1:1 ratio means that you will have the exact same
number of lines on your canvas as you will on your reference photo, and that
in both cases, the lines must be equally spaced apart - perfect squares.
36
Confused? It's quite easy once you get the hang of it. Let's see the grid method
in action, and it will make more sense.
Let's say you want to paint the following image:
This reference photo is 5" x 7". As luck would have it, you want to make a 5" x
7" painting from this photo. So drawing the grid will be pretty straightforward.
But if you want to make a large painting, you could also make a painting that is
10" x 14" or 15" x 21" or 20" x 28". Why those sizes and not other sizes?
Because those sizes are the same ratio as the 5" x 7" reference photo. In other
words:
See? It's basic math. The size of your artwork must always be equally
proportionate to the size of the reference photo.
Because of this, it's important to be aware of what size canvases and wood
panels are commercially available. If you stretch your own canvases, you can
get stretcher bars in just about any size to suit your needs. But if you're like
most of us, you buy pre-stretched canvases, so you are limited to the more
popular sizes.
37
So, back to grid-making. Here is what you want your grid to look like:
To draw the grid:
38
Each square is 1 square inch. To draw this grid, put your ruler at the top of the
paper, and make a small mark at every inch. Place the ruler at the bottom of
the paper and do the same thing. Then use the ruler to make a straight line
connecting each dot at the bottom with its partner at the top.
Now place the ruler on the left side of your paper, and make a small mark at
every inch. Then place the ruler on the right side of the paper, and do the same
thing. Then, using your ruler, make a straight line connecting the dots on the
left with their partners on the right.
Voila, you've got a grid! Now repeat the same procedure on your paper or
canvas:
You've now got a grid on your work surface that perfectly matches the grid of
your reference photo. Bravo!
Because this painting will be the exact size as the reference photo, the squares
on this canvas are also 1 square inch. If this painting was going to be 10" x 14",
then the squares would need to be 2 square inches, because:
See?
Basically, to enlarge the image, you'll need to do this kind of math (even if you
hate math!). It's necessary in order to make sure the enlargement is exactly
proportionate to the original. If you're not sure whether you've done the math
correctly, just count the number of squares in each row and in each column,
and ask yourself:
39
● Are there an equal number of rows and columns on the canvas as there are
on the reference photo?
● Are the squares on the canvas perfect squares, just like the squares on the
reference photo?
If you can answer yes to both of those questions, you've got the gridding
process down pat!
Now, back to the 5" x 7" grid above.
I find that it's sometimes easier to keep track of where I am amongst all those
little squares by marking them numerically and alphabetically along the edges
of the paper and canvas. This way if I get lost, especially within a much larger
painting with many more squares, I can easily locate where I want to be. I write
the numbers and letters really small and lightly, so that they can be easily
erased. It looks something like this:
And this is how it looks on the paper or canvas:
40

So now your task is to transfer what you see in the reference photo, block by
block, onto your canvas or paper. When I use the grid method, I always start at
the top left corner, and work my way across and down. Since Square A1 is
blank in the reference photo, we'll move on to A2. Draw in A2 exactly as you
see it:
The grid basically divides the original image into smaller blocks so that you can
more easily see what belongs where. You can see that in the photo, the left
side of the little bowl intersects the corner at the bottom left of Square A2. So
you draw the line from there to just below the middle of the line between A2
and A3.
41
That first block was easy! Now do the next block:
So you see that as you are transferring the image, you are only paying
attention to one block at a time. Don't worry about the other blocks - just focus
on that one block. Try as much as you can to copy exactly what you see in that
little square in the photo to the corresponding square on your paper or canvas.
Focus on getting the placement of each line just right! Here we go:
And then the next square:
I think you get the idea now. Basically you continue on in this manner, until all
the squares are done and the image is completely transferred. By focusing on
one square at a time, you end up drawing what you actually see, and not what
you think you see or even what you think you ought to see. Once finished, you
now have a pretty accurate rendition of your reference photo, ready for
painting or drawing!
42
It is not enough that you learned concepts in making Grids . Make sure that
you can demonstrate your skills as well. Do this activity.
ACTIVITY; Plate no. 3

Title: Grid Method

● Mechanical Pencil 0.5 /encil HB (Staedler Brand)
● Gum Eraser
● Triangles
● Cotton balls
a.)On the given drawing surfaces redraw the Bowl of marbles using Grid
methods . Apply the shading techniques
43
UNIT II- Drawing the parts of
Human Face
44
Lesson 1- The Eyes
45
ACTIVITY: Plate no. 4
Title: The Eyes

● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the eyes following the given steps
and then apply the shading techniques.
46
LESSON 2 – The Nose
47
Title: The Nose

48
● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the nose following the given steps
LESSON 3 – The Lips
49
50
Title: The Lips

● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the lips following the given steps
51
52
Title: The Ear

● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the ear following the given steps
53
54
LESSON 8 – Draw the Hair
55
Title: The Hair

● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the hair by copying the given
sample and apply the shading techniques.
56
57
LESSON 9– THE HUMAN FACE

Title: The Human Face

58
● Gum Eraser
● Triangles
● Cotton balls
A. ) On the given drawing surfaces redraw the human face following the
given steps and apply the shading techniques.
59
60
UNIT 3 : THE FACIAL EXPRESSIONS
LESSON 1 – DRAW THE DIFFERENT FACIAL EXPRESSIONS OF OLD MAN
61
Title: DIFFERENT FACIAL EXPRESSIONS OF OLD MAN

● Gum Eraser
● Triangles
● Cotton balls
A. )On the given drawing surfaces redraw the human facial expressions of
an old man , no need for shading.
62
63
64
LESSON 2 – DRAW THE DIFFERENT FACIAL EXPRESSIONS OF YOUNG MAN

Title: DIFFERENT FACIAL EXPRESSIONS OF YOUNG MAN

● Mechanical Pencil 0.5 Pencil HB (Staedler Brand)
● Gum Eraser
● Triangles
● Cotton balls
A.)On the given drawing surfaces redraw the human facial expressions of a
young man, no need for shading
65
66
UNIT 4 – DRAWING OF HUMAN ANATOMY
LESSON1 -8 HEADS BODY PROPORTION
67
LESSON 2 – DRAW THE HUMAN ANATOMY
Title: HUMAN ANATOMY
A.)On the given drawing surfaces redraw the human anatomy , no need for
shading

68
● Gum Eraser
● Triangles
● Cotton balls
LESSON 3 – DRAWING REFERENCE PHOTOS

Title: REFERENCE PHOTOS
69
A.)On the given drawing surfaces redraw the human reference photo no
need for shading

● Gum Eraser
● Triangles
● Cotton balls
70
71
LESSON 4 : THE HANDS
72
73
74
LESSON 5 – DRAWING THE HANDS
Title: THE HANDS
A.)On the given drawing surfaces redraw the human hands and then apply
shading .

75
● Gum Eraser
● Triangles
● Cotton balls
76
LESSON 6–THE FEET
77
78
79
80
LESSON 6s– DRAWING THE FEET
Title: THE FEET
A.)On the given drawing surfaces redraw the human feet and then apply
shading .

● Gum Eraser
● Triangles
● Cotton balls
81
82

D317 - Illustration Second Sem. SY 2020 - 21 By: Arnedo O. Santos

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Bulacan State University

Office of the Dean of Instruction

COLLEGE: BUSTOS CAMPUS DEPARTMENT: CIT

COURSE CODE : D-317 COURSE TITLE: I LLUSTRATION

FACULTY: Arnedo O. Santos :

LEARNING OUTCOMES (LO):

ATTRIBUTES OF IDEAL LEARNING OUTCOMES (LO)

RUBRIC FOR ASSESSMENT OF LABORATORY ACTIVITY:

No. CRITERIA POSSIBLE EARNED

RUBRIC FOR ASSESSMENT OF PERFORMANCE TEST:

No. CRITERIA POSSIBLE EARNED

OTHER REQUIREMENTS AND ASSESSMENTS:

1. Finished activities in tonal values

Mid Term Examination

ARNEDO OCHOA SANTOS

Engr REMEN ROBLES

DR. FELICIANO B. SANTOS JR.

DR.EDITH NICOLAS DE REGLA

DR. CIRIACO M. GARCIA

Conté Sticks, crayons, and pencils

Charcoal sticks and pencils

Brushes and dip pens

The most common application techniques include:

Shading with hatching

Blending - Smooth gradations of value are produced either by adjusting the

Rendering - Using an eraser to remove the medium to produce lighter values.

Stippling - Applying countless small dots to build up darker values in a drawing.

Applying What You Have Learned?

Instruments and Materials Needed:

Lesson 3 : VALUE SCALE

Value is the darkness or lightness of a color. Light values are called tints and

ACTIVITY : Plate no. 2

Instruments and Materials Needed:

The grid method is an inexpensive, low-tech way to reproduce and/or enlarge

To draw the grid lines on paper, I would recommend using a mechanical

Let's say you want to paint the following image:

To draw the grid:

Now, back to the 5" x 7" grid above.

And this is how it looks on the paper or canvas:

And then the next square:

ACTIVITY; Plate no. 3

Instruments and Materials Needed:

Instruments and Materials Needed:

Instruments and Materials Needed:

LESSON 3 – The Lips

Instruments and Materials Needed:

Instruments and Materials Needed:

Instruments and Materials Needed:

ACTIVITY: Plate no. 9

Instruments and Materials Needed:

LESSON 1 – DRAW THE DIFFERENT FACIAL EXPRESSIONS OF OLD MAN

Instruments and Materials Needed:

ACTIVITY: Plate no. 11

Instruments and Materials Needed:

Instruments and Materials Needed:

LESSON 3 – DRAWING REFERENCE PHOTOS

Instruments and Materials Needed:

Instruments and Materials Needed:

Instruments and Materials Needed:

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