BOOK TWa Teach Yourself VISUALLY Drawingchapter | Prepare to Draw In this chapter, you will be introduced to methods that help you to simplify the process of drawing. You will learn how to light and situate ‘your subject so it will be easier to understand and to draw. You will also be shown a methad of drawing that is concerned with drawing shapes rather than lines. This will help you to understand how-to draw your subject thrée-dimensiohally on your flat, one-dimensional sheet of paper. Finally, you will considerand look at a variety of marks. which can add interest and expression to yourdrawing.PMT em erie Your Subject ‘The subjects that you choose to draw, the way in which You arrange them, and the way in which you choose t6 light them are very personal choices. In this section, you will be shown dif- ferent setups as examples only. Be aware that if you don’t like the setup, ‘you can rearrange it to suit yourself ‘The directions given can apply to any situation. ESTABLISH YOUR EYE LEVEL ook atthe above atangemert. Fam what age are you looking at these objets Tink aoa whee the person vo tok UShittopaph sony or Say a mdaete ck objects Haste en moran eonadeaton Dense keys Stand determines your vane pont I's very emporio to maikan the same vaeage po when you re dang Moving ‘round changes our vantage port and consequent you haveto change you raring In he abone stp, epson ‘oving the jes sting toto fe abi and ong deca he ctjects Nl that you cane tops of the objets Yu can ae them rm de ude oy You ah aso se Jat asa porn he tabltop. Node re hehe of the bod athe tablein ration to the objets on heal re ae tuo fret eye eva nthe stage (9) yu are lookng dwn on he abc Consider which potions ofthe Chjetsyoucan aul Seu How mucho he tse ca ya see? nthe acd mage, yo eye eer Ser You cn tt ee the tops ofthe objects andthe ables obs the botom athe objets Yo ean te the sear te table Remember ut what yuan soe determines wt yo aj ood eee i Tis ashet of de ebjocs onthe pean theimogs (ot thebotom othe prev age There enough sae of he table to show easiness ane tables yy SSface Notice the level of fe bck fe tae, compare to the ddjets: Determine ex where ths eel nes Up On the thjets Compare te eight of te objeas Meats to se ifthe ght ote pple and orange ae te same Nose te Shape olthe tabletop. Th sronges i on he gest bjs ions he top ts ale the eggs A of te bev ports freiscssed note det Chapter 8 Tis anisreducion {o's you thing more out what you can actly Se, bec you cannot da hat you cant See! Eye Level: A Quiz When you luk atan object you do so rom & parle point anda particu lev. nagne tha your pe evel fora ox Zoran in connaion to ching yo sea dp You conse he allen exaes Where Tt esa ‘nh Tok the phtogeph wer ang he answers aon Benet pape (CONTINUED ON NEXT PAGEMTree artis Your Subject (continued) Eye-Level Answers Here the ewer ooking down to thea conse ‘qr your eye level above te pe Nw rat you {ns sce the pbbls ony trough the glass you cn ‘tae them det om fe op. asthe ewe Arg backrr he, nt ea over ea Bye tal Thee islokingsghy up thse ojos. The tibiae obeanmg yar ofthe ton te shies You wetrubleto othe op ofthe eas ‘iui srevible ny desde Asal pat eobjose son hee reson ye Soy ata Notation ay the ew oking sty a has it abo three-quarter ofthe my own Bo You eat soe ‘donna the top of hear Heres because he ors ‘rae favs yu can aoe te ck ofthe jr tug the roneo it Nuticethe bao et sdeo the jo, and Sts how its amanged at 2 degree ange. The ages isssvercal andre horizon ant same seo thejrin the premous cea xe the viewer ting lower and father back fam the jets. The aye els ome te able appa higher ‘andthe botom portion ofthe cet is ubseired bythe {able The curves of the ids are ang doin tre ‘atceably than inthe previous example These der ‘ces sigh, but kacn dbsenatioh i an important tool fora arts you must parce constantLich Your suBJEct fring animportane factor in drenang Obwous es ory th Wien Jou con don Ute theta Orrstre an oyet Here you contr ire ght ings Te diferent pes of ahi ce ds ‘ussedin Chapter 3 Now you cn for fusion Hoc paite Pointed te sl fe sap: 8c Mona tong soc of ght ond Shao Tes droits very po for abegoner brass oath Es dtd oy toon sao, ‘sul essed rom wer jects Rises Se 9 Sweresnee o igh and sade wth hts ron. suo Hower the ion toe leone Secret objce hen the ihe basCUT CT Paper Toe eo aulabie metho of desing In his os Sinan ee diced ih Chaeer 8 Doctgions fall eco a rae chad Worm Ite eon a fat ssn hey pope Seana eta iae eis soutien anna aaron (ected loving ta arnt rr Se ee a erred nec tie areal Ba eel pepe Ar rp fone ese Inged vba bese eros Sesion a: bo Scene ache tetera es seu topermrteal ese ach ™ Sy aT as gL ween a Te Dee lease kepewiri tes peeve _graphite stick of penal and can make a very dark tone, so use it sparingly. Use your paper towel o smooth de graphite over the pape. you ae lus powdeved gropite,smodth iin very Tiiy Make size tha you ‘beara even te aver te whale surface, Kis mporant that yu covet the whole page, Do not eave any ofthe white surface weble[once Heres the fished est The tone has tobe woable and tot sa dane (eared ino da ha cannot ba ‘ose eal You may Tina tat ong @ pene and rarorkife rabies out oat agree moe ay lone Eventhough it {akesmare tn, youmaypefertne ore es yu, Us the gpite powder ges yu adver nd esorone. Now you can use a kneaded eraser to testhawe dense thetoneis on you pope. Easo a small area. should bbe easy ease the tne so that you can see the white sata ofthe popar tis ict ta eres, you proba by ibd dh popite nt the pape rather un smoothing it over the surface. ln this quik sketch the artiste an ease to take the large shape ofthe model’ ely Because the ‘hes ws also bei tone was erased stokes rah an nahn he a red he tbe ‘litle moe subdued on the chest han onthe bel {nthe nea section you wil learn that using your eraser {to make arts raher than large shapes can ad ever ‘more varity of one to your wk Figure Stuy, by S. RobinsonMake Your WETS A drawing holds the viewer's interest because of the marks that were used in is creation. As you more will notice that there may bea of cera harks (Epson oll vice aunt elltonmen dlaratecho panrejicand ate te work dale youre (Gammpmorm {inthis drawing dhe model hastaken a pose that wil est for only few mates he ts fed to work quel ora the informaion in front of fim onto hispaper i is exes, rtuldon ae spontaneity come ino play. Consequesit on having & short time to wk the marks are mi i Notice thar the res drew are used to corny a general sens fd ne ta dlineats any dete. Th ighnes ofthe marke gives the craving a gerd quay, Te Hey of the lines ey {ces te canvaure ofthe whale pose The earston from ight to darker mans tlatesto the acon of Bending over The ‘arker marks an Ue marks of he shaded arsas ae located wits the closed curved area of te body.aoe “This drains «spontaneous response toa gure nt mition. The vcght ofthe bod is cared by the lef leg, buts ou to bye transferred 0 therightieg. This moton fs slalfly eaized by te almost continuous angled, da, and thick mak along the orso and on te aside ofthe hady Mares no one continuous Ine ns igure ealhor, ees broken rt fer fentmarts which nia convey the sense of acon. The mark arching ou fom the lf lg reinorce thisimpresson of for ‘ond mio Sting Figure, Quick Study by Dean PerSere Graphite Marks {Look at the varity’ of marks made in these four examples. The paper and hardness of the pencil are sven under cach ostaton. "The completed drawings af On pages 42-43.eee “Smooth sketching paper and a 2H pene CONTINUED ON NEXT PAGECue met CS Marks (continued) Al of ie marks made with a 48 perl ae used inthis eawing Te softness ofthe pel gies tis honing an ay quality. “The satic qualy af the pose has been interpted by te energy ofthe lnescence 9 Allthe merks mace wi «2H ard H pen can be foundin tis caing The deeds ofthe face have besn given more atten tion sthey have been finely dies wth care nes ad marsLUCE ETT C Your Object Fefore you begin to draws you need ro ‘stermine the correct proportions of the object you are going to dra. Tn {hie scion, you will ein to nue Simple tools visual measuring ad \nsyoumemreyour aes ts sl tate dr in Sidpadionviufana dist srtecane postin attend tahoe yur con crn Go ae 3) Volar aniplemont wh arg hr ah as apatinayakik | ter ofan mcg alg co ise Unit of Measuxement sy. Agy the end of your moosring too whe opt of he ‘jeer example. ave) ad ren se our rn fo mark he Pinon ofthe bottom afte objet on yur essing to. You hone Fw ested a nt of measures, Ors se tha opresents eight lhe abe a seen rm whee you are sting crstancing To record tis easement for ae referee, you can put sme cae (Opa ‘ik de) sound he menting too to mor ts pie whieh soar [te pot on the gh Your can then ald Bet nz (om ‘Sraight) tone pte eed ofthe ol vth the fet side of he vse Yu {an ser whare the tape ends Now you nave eased te land lhe height of he jor compared ta as wa[once Totherightie dggay sowing deere ways to measte else and wih of teose: Teun of meentremee erated by acktines compares the ha of eve tots ‘mah Nate's conpurson, te mensremer of fe ‘a ofthe vse ol renties oe bt of tenet, Yar fat onthe vse “here ines dente a memuing sale ung the wih of the apes spout Noe that he hag of ro vss ura hanes thew ft spa en ya yn pon tun proportions oyu safe wats Womeon We Plan eis yo acne rift hp ane proportion. (fours you cn designate ay potion ofthe vse a the unt ofieeame omartan ces nage ays cram fay otanded rt bert tthe bow and mas tant sme ating ating pan exe youmesare yoraiyer Is igeecraing shows you an example of how hs ects Sohn iret Suan Hae eng efoad {rom te topo the hao the oto ft chin, his Been wed Ao deemine tego he geeCorrect me nr objects is only one pat of drawing exactly what you se infront of Souslso have ro cofdlder the angles of te contours of objets: Dolage canbe chy, fue tice are ‘methods that you can tse to detrmine these angle. "The method shown here sa slmple one. Care With the sane messing tool that you used prvi to dstermine ose, yu can asin reas of objets hat Sromot hoszrtl er vera Fix your posta and wend {Your sag out Ha your olf nt ss ave ot Trp corzas ofthe ob youl be crn Vou can ther emer he ange and it your dng (sal feng ath yourmesstng tool an hep yu emembe Cx yoan nr the eninge eet postin nour cava paper toolinthesare pos No andmarii ange ed tom orto ot he pape ek te ined a andy tng vor rcv, Yu sn hen tar ten ingles on ur paper Doig wl uty Finding the oxo shape othe se.eee ‘When you tt repeat amare complecotaur of fom, dere ipl sagt ines reese sah seen oe ‘iether nang ‘au can repent is process as many snes ae neces hdps yout sete objets Bat Yu a more ey You be apie a haw mst eer is {record dat shapes jou sete mand Feel feet light ra thse agit ines on yur ving to we sea te, Youcan as lee hem on your draning.Some ess ‘Ech as tun Upew and estat Wa Colds fet fuidlnes onthe dongs of pasngs efor a nes Sry ts etna ove, a est made became apa ofthe Worchapter Discover the Pattern of Light and Shadow In this chapter, You will learn very simple ways of establishing the shape of light and shadow areas in your drawings. Youwillalso learn howto achieve the illustap of three-dimensionality. The techniques in this chapter are used to create-@-reductive or tonal drawing, a& the shape or pattern of light is temoved frompreviously toned paper. A beautiful oval-shaped vase is used for many of the drawing examples because it has a simple round form, which lends itself well to the prin— ples being demonstrated here.See the Value of Squinting The Range of Tones . . Tone: From Dark to LightAYR UMC) of Squinting Saving, ch cay cod, a Intportant seh that helps you 60 ‘ew your subject in simple shapes, {Look a the picture on the right, We Inve purposty Bred the image to show yot how deta are no Tonger Clearly visible. They become Bed, Sid you cam sce only large fori. IP fom squint at he mage ie show Become even more simpifed. Ine ital stages of your drags, ty squinting a oes a possi when youre ooking your sujet. Evert Sing sae see ne you The re Cig sts to roncentate your ston onthe age shapes: Many begemershecome overabsied by tis ae eae Srenotimpatnt ne fis sage oa ving Wats imponane eto map inthe snr of ht ys re dong You wll nfind tren deals Te eve fra you {etsowin our dening ic tel on antag ad drag te Shute of your scans objects. The patting here demonstrates how large shapes are an inte- gal pat ofthe work Notice ow the as here uses js three ferge mam shapes to dine 3 young toon cow the sd ofthe lee oad of har, ad he ds ft ody ‘with ge shape the head, hee are reso Smaller shapes that define ferent sections a ane ial You can als il smal shapes vn the hero Inge apes: scaly ee realy me tal and ye You Can tall what the abject ght away Lakewood, by Tim Lowy, courtesy ofthe attDeore ee can emt ekeite mms t Heorer agente ose! Doyo Sc rine shapes of da hes oie Te Lesleieraaplersged inca ete rence shee Ber clotan ge row Saree oceans eee amen ictal at chpepsemerected eet Sa eased puesta nae aie Insist sas an ns fang so, she has pao the Spelbrecteny She coated tn ‘lied on conicing the shupes of shadows together The A “xbjet mater he ben cbse aso completed sar pur ; See pecs of th pul are compesed the shapes pean shadow wu ttogetbr Fonte dees Soo Sie pees ngage Vas sth save bjt a above bth tng Changed lea oodook ats image nd eee Shes youn eens fsa purl igo hoe iin yrtrk you con ste lge shape sao Ike Sketches aon ele cane he Sheps ht you so rig inthe supe hae nde we dct! on page st Rasp ace dem haveto be sac. vr page ca se he Sites hatte ator mode fs age CONTINUED ON NEXT PAGERAC AY CT Cr aera) toot Jaslene tdral taal {xan danlow hat fu se when oqning Nees the Se enoaneeemotne as Sagi scn actrees Soe anpeontea nee, Sa ES eee en Heit ele bali oe sg ns id Tochatgraaamearicer tein Teenie teams oecanrr are ao sdoutthe size ad configuration of the shapes bosed un your ‘Shenton ‘lite Sty, by 1. .Robinson Hane i shetch withthe shapes of shadow filled wih a ‘at 28 pen The artist has dawn tee lage shapes oF Shadow Do you otic that by sadn th shadow aes Fansardy cated te shape tne ight es? You be {rated yur un jsp Yo are pve oh way Linietanding hota eeate sens of dap nd came in your crane ‘tl Life Sty, by. . Robinson <=2—____. ‘Step Back! Remember to cortinualy sep bak a east {6-10 es from your dang 0 make sie that you arent overamphasiing the dette and in {im compromising the “bg FormsaC of Tones Discover the Pattern of Light and Shadow \ chapter ) In order to obtain the illusion of reality in your drawing, you must be able to portray the light that gon cassrepn cee arscoee fara yn eomeiotaee gheand eles deg og {ogether to form a jigsaw puzzle. You muse now consider the quality of that light in those shapes. ‘Adcyoursl he flowing questions: tthe ight strong? ‘hati mang wry defied soon Oro weak va Ioeedefned sindowe and alt more graye Ths tonal ange fn the ght demonszate series of tes fm hiteto Sod hte re shown re, bt many many me re Sate to yu moder oda ay ig ston tt ou ‘iencounr as i such suo day dy {oushaud hve wide range tones ava t ou Take een and, gsr. wesc os inary stares af tn you an Ota th your pei Sart ‘thts of your paper ax your wate keaC TC) DET am aris "The images in this section will help you identify the many varied tones of gray that can be found in Her ea tonal sketch ofa womans head. The tone onthe paper at bos erased to reea he igtt on the womans head ‘nd neck Look clei ard you ul see that within hat area of there aretonal variations nthe larg shadow area oh {tho lft of the hea, trois aso a lrg variation of grays down to block.Now theimoge hesten diferent tones dled ‘These tones range from the brightest (ute) to the darkest bask) onthe head Some of these ttarstons canbe very sub. The mote vanaion of tone you tse the high the Fve of accrary yous achieve in your epresntational easing “Theten difernttones ate identfiedin ascending ‘order from ightost to darkest this mage, with iightest bing 1 fo the darkest ing 10. Can you este tange of gay shades that you can oben ram your gp pol he ye a an be som onthe ap ofthe nose, Ande aly di Plays the Ighest area of tone, as irs te ane faa- fuse that sks out forest rom te fae, CConsequery es eloset to the ight soure. The inner corner ofthe muh is ecu the lest fmoune of ight, soa dark tone fused there, The artes areal the face's located in the ose. “This aes receivesthe least amount of ight onthe far, asthe lige cannet enter enough Of thie space woghtit up, Novice that the artist has aso deavn out the shapes aourd the even the lige While spire ing he Sa two large shapes of shadow: one sip este Cone tne ae eye. fe shape tt ner comer ofaa TS STS ‘You can draw a beautifully round, solid object by following the directions given here. Be sure that ‘you have read and understood the previous sections in this chapter. You will need to understand the ‘erms used in the previous sections in order to complete the druwing, Dosh ete coreg tenet ten eeemeh sa SOE atic aanee ceaendeacoareme co es Se a os cv Scan pe ad OE Riper‘Map outthe shape of your object Dont worry about obsining a perfect olin of your object. Thsis mot necessary. Draw sera ines iFyou have 0, and keep them ligt so they do not drat you Be eaae of the proportions ofthe alec ‘Remember measize.¥ yo cart accurately cra the curve ct your eject refer to "Massie Your Objet in ChapterKey Your cS drawing means to create atonal range in your drawing. ‘Tonal relationships (ee pe El Byer fhe gine deed tnseea Sage ghee {Stkness of her area in your subject. This developmen of tonal relationships i essential to tnilding the ilonion of space and form in drawing, Sr ‘ile looking ond sing at ou rir fe acdsee where theliges gt andin dhe dike ee page 9). The pteigh {Russ og eet ee hace te dake dt sid appear the seth ear team ign sree uh ors cao tert je eee Sti) you fd cat tse he ght ght or darkest a ah ‘are ne, corer ee thelr cong ar whch orton Si ehe objet ts sdanngon hanson theta a eb ee ingthelg once you have determined wher the hte ght and dass dak ae itncate em on your drasing With your eres ase shape of he i re With aa penal (or ger 8 amber), ha he shape elt tts nk wea, Dat press to hd ert jl You may wart tees Sepa oa ym ate bight Now that youve to teen pai form er yes to hikes wath tach to compare al Geer ea Caen your ot esobpec ee page 53). ee jane: object you vi tne tond sale for whole dvr yous nts inde Ih area thats gate as bigs your ies, you an ubsene a wi degre that rons darker yr gies Ugh.ait Peephole Discover the Pattern of Light and Shadow \ chapter ) ‘A helpfal technique to ald your eye in establishing the scale of your tones is to use a peephole. WON ols ant ea ty make Take a square pve fearon [purch a smal hole through & Look cul dhe hake wth ‘ne eyeto islatevarious areas your subject. You can make ‘comparsons between tones that you are unsure of The peep bale concentrates acy on a al area Your eye wil there fore soe only what is maeesary and il nt be uence by all ofthe othr tonosn tha aoa tdi wissen elton aint gebeter dst atargrditncie me Se enigma ere Sceoekeecricanu iatDevelop the Ct 49 Yor have now established your light seligheond peor dutexsters Se favelso mapped outwith lines the ‘ape of your ain dow ate "Fo ate now esd 0 develop the tom range of your abject in order 10 dchiewe a thre dimensional object Bake sare hat you have 3 4 pencil dnd Kiwaded eraser Telit thst de sets tingroufly te op quer of te tose och ler ph ea yn oe an ase nd “Sn the dpe ageitres Borat srwtoo mac Tis as Shou note iter ha ete pe You med, cte ne ‘Besar conte wh he ie ge you doa makes one ‘Ey darter thn he ges igh the son ia and terre he ‘one be ds i Inhisimags the at siding thet pote ws. The ats ‘raed the shape thats clcang the bight Agr, dont make ts rea ferent ies or hig chek ja ropa, medcaenchpta our cer epropoueral Sica ee “Measure Your Ot in Chapter 4)Te ther enphase tne lift on the tp al of te vase, ear ad imoreton eaten alle te ausdeat te tp ha of the wn He {ada 48 pena io acd more tne ono the paper Mstanitseste Mie ‘Sof theirares ofthe vce coming foward sel popping ou In this image the ats added more tone again, but thistimehe akled ‘ape to suggest the shadow area a the betta ofthe vase. The tone of {hee Shad & not darter than the datkest dak By maka te tone sii eth dares dark east her bide ato hha of he vase to come forward. the tone waste sane the darkest dark, the vase would appear a nd, consequent have no form. ‘The shape of shadow was lengthened onthe let side of the vase This toneisvery coseta the tone used at the Bottom ofthe vas, CONTINUED ON NEXT PAGEPOAC) me eh M ere) ‘he sort neck of the vase mare fly formed withthe addition of shapes of datker tonto the sides ofthe neck ofthe Vase 28 Sawn hha), These shapes on ether deo te neck seem rough tanga ‘hen you ade tone with yur pena, Keep the edges soft Doct use a line of any sort sugges the end of te shadow area. you do, you wall faencuthetom anvil not beable hive the rane the iin ee geod rg yet aterm Sena aeunerecie arta les yt iiaausamatenae meen, BeaiGitea gamers ston sceae mane ‘he aris etced that thelight area ofthe vase gadualy dakons ase eeegt sow Ts dtr ron it aaa he fa tone, Carel observation afd reerng ofthe hal tones ‘ilo sceshly render the ves volumes The tof sha tne ml desenbe wee te lon tims acl of abrgsy Rs more ie wos aed heats used a toto See page 17) an i i Encoded the wanson fom ane tne tobe a 7 For largr areas, youcan us a chamois oth oe paper tne H you uo Your gy ma aie your hands te dean obese, your srs ‘Sabai heute mag a emanate rte ine boon erase in rug tangle apes ours he uke ges othe ‘set emphasize the shadow on the bolton ofthe vose al to prepare Torthe enon of the athe abjecsCObservethe abject tts edge, As the form tums toward te edge ofthe ‘objet in the ight area, notre thatthe tone of that wea girs to get ‘Sahn darker sts cite to tings, as soften avery se ‘change of tone. The action ofthese shanes of ight darker tones il help the form cum wach ais yolume tothe objet you are drawing. ‘ese drker shapes of tones wan te ight seen are referred to asthe [git hat tones. emerber thatthe ital tones rant bea dar, ot ‘even get closet bes a dar as ary tone wits the shadow. Note: To wos al ares shop your sc esr noo pin. ‘The att cominued io develop the cawing,chsenng all arasin ela tionshipto ea ther Notce how the igh on the wal bagns to show a raualon of tne that ates te areca of hei Heese of Oe [oft onthe able father exhancesthe rection and uly of te ight, by defining te shape ofthe shadows ofthe objects ting on it ee the find stage ofthe dtevang on page 69). Keep your kneaded eraser clean by continual Eneang it you dont keep rng te east in ‘nisl wl not beable to erase more rapt, ‘25 the srface il aready be overloaded vth t00 ‘much gaphite, Keep ing anew srface to useReflected arid "The reflected light is the area ofthe shadow onan object that is lighter than the darkest part of the shadow. This lighter area within the shadow receives more light because the sha that area turns in a particular way or begins to face a new direction, and so can ‘of the form in influenced by light that is bouncing off other nearby forms or strfaces. ‘The reflected light may also be caused by a secondary light source. Dear a5 at src has a aig tat he finds isl Sherpa sss ia he felted he resin for sayeg ss Doane ay sie ow oo ant he ee Oe ‘loco igh by making as ito riper tare tnesniteitpatdtiefome Te most ily eso fortis vetatement of Fess is the tender to acon one testi the Son andr coi the shadow ean to tei pat othe itr meres of weeding for shat isteado ning te okie fhe fr does te apposte and Alene tou kis nner phenamean aie testo heighten he ee-dmensory of bjs ry {Suse al fhe deuce a our daponal 0 reset usin of realty Wesee hat scurve oled it the shad, Sd rar thesis an expe of why fs 3 por tant nen ooking at your subject fo) Na ook i one Sil on but tofanfas poche apn a toe or areas of yur drawing ned to reat al fon rela ions wl ede cing ight fom, and sparen your arc Loot coungsby rest master You wl sce Tow they understeer ight The dt owe iltratesthe se felted Ton al thre objec aple vse an orang rm the ti He sid tre preour cumple Netce how feted ight helps het son of te orm ting ay om te eer, ERS eaharing es vaunins quay Ine porta the reed igh is ancoregin a sine Iman Kalo te centro teaver the feaes tne to cme loathe te refed Epinthe shade ‘erodes spay Notice tat he tone the elt iceibstally carr than ths tones onthe ght form, Tene felled gical adds aspen to theshado Head Stuy, by Deon FisherBetty PCM hte eo ee et eee) i “The fecling ofthe tere ofa material i achieved in large part through the fine-tuning of the mu tind of onal eaonghipe in he draing, We wil ele wo tase diferences as nunnees “inal ages of your rang wil ntl carey absanng thesmal vanaionsin the opoganty of yur obo Those ‘arn cold detest te a idgoin tho ose the uneven ede ofthe tae the bumpsin the pal of the ormga or the nk adres dhe ange tebe The rendering of sich Teatro il ad lity to yt devo Chace feng of ely your wok, Inthisinal stage ofthe dang. the shade co the wal and {he dado ution te edge of he tae se now more fly rondored Notice how ay the shadow appears norte tae edge Youcanadeve is quay ot cacy coe toling the vu f your tones rt ateon to chapess tr sone of edges beoween cess alps to add reat thetmoge -erangementin Graphite by Dean FiskerGallery: Examples Cem Cle Energy and drama define this owing Thereis 9 emendus sculptural cst which is achieved Brough # trong contrast cof tone and a vigorous aplcation af the charcoal Notice the great economy of means used fo ender the figure Figure Study by Kenneth Pace, courtesy ofthe rteInthis ceawing the range of tone is ite smal The at use only about 40 percent of the tena scale (om vite to bk. The minimal use of cormrast stggests the very round large mass the bak. There are no sha ales or bony protue berances ere. The fees used can ary conan Ue volume of the ig, ‘Seated Figure, by 1S. Rainson a CONTINUED ON NEXT PAGEGallery: Examples of Light and Shadow (continued) Iinthis drawing thee strong festing of mystery thats achieved thrangh an extersive ime of shad. The area thet fli sihadow comprises about 0 percent of te causing. thin the shadow area Ure are ieresting shapes and spaces tha at {sare ta pall the wewer in he dak shadows aso at aan excelre oi othe gain ight ov the octt, gvng a reat eal evisu impact to ths drawing treet Scene, by Constance Lapalomburo, courtesy othe art.In this strongly patterned drawing the suite ofthe paper andthe dares ofthe charcoal are used extensively to manimize visual impart The feetng of rect sunlight lasing ough a window ad hating te chairs creates a poweulinerpay Debeeon telighe and snadow Chairs #2 by Geen Fer, courtesy of the artist CONTINUED ON NEXT PAGEGallery: Examples of Light and Shadow (continued) “scans come ofa room bing ity nature ight ugh a indo Te ih sits ey owe he objets and {ass sft dado, Tere fa shape of dake toe, mawing under Se sk andthe aumerap ad inthe le sd ol the ‘Sic he dates ara defines sport ft ante countanap The aretha kop as shots gt part the suns of day Heng ta every abt andor ery face - genie Kitchen Sink, by Richard Maury, courtesy of Cle Maury and Forum Galley New Yok, MYDiscover the Pattern of Light and Shadow | ee This deoning also uses natural gt to reveal farm, There is more tha on ight source in this craing Theresa wide range of tones. The ast has use his tones extensively to suggest the frm ofthe igure, He teves of cferent objects he oom well asd room isalf (clang dre walls andloa). Alf these elements rece the Eght ita iferere mane, ‘nhc crates lage vation i thetonal sale gure ot Res, by Dean Fisher