LINE

The Moving Dot..... The basest form in drawing is the line. Line quality- the variety of weight and thickness of the mark-

-Pressure

-Speed

-Motion/ Direction

-Accumulations/ Interconnections

Line can be used to symbolize:

-Outer Edges

-Plane meets Plane

-Color meets Color

-Tone meets Tone

-Explain Shape

-Contour

-Guidelines

In the Still- Life example of Alberto Giacometti, a searching

line is evident. Giacometti creates guidelines to locate his subject in space, each time refining or re-drawing lines (accumulation). There is also an apparent speed to his mark making, similar to the quick movements of an eye tracing a subject, as he create relationships.

In the next example, a Self -Portrait by Leonardo DaVinci, line is used very deliberately to create shape and movement in the beard. Notice how these darker lines curve back and forth up to the area of interest- the feartures (eyes). Also note where he allows to line to disappear indicating space and planes receding.

In the leaf example of Ellsworth Kelly, line is used in its bearest form to show the outer edges of an object. Kelly, using a delicate minimal approach, uses a slightly darker line to indicate the front edge of the leaf and a lighter one for the further. Also notice the specificity of the line as it describes the contour shape of the leaf.

In the Van Gogh landscape example, the artists large vocabulary of mark is apparent. Van Gogh used a variety of mark for the all different aspects of his composition, some short, some long, some dark etc. Take note of the foreground field, here he employs cross- contour, undulating marks indicating the surface topography of the field.

The example of Cross- Contour is clearly conveyed in the Shell drawing. The lines seek to describe to surface bumps and depressions of the shell, through directional adjustments and thickness of line.

In the torso example of Antonio Lopez Garcia, we can see how the artist used line to organize the portions, symetry, and contour. Notice how the line is heavier along the trunk yet dissapates as it moves to the legs and shoulders. It is this variation of line that allows a form to be made on a 2-D surface.

VALUE

Pontormo

Value is the relationships of lights and darks within an artwork.

Key terms:

Simultaneous Contrast- The area of darkest dark adjacent to the lightest light, thereby enhancing the power of the other. This area will draw the eye first and have the most force in an artwork visually.

Local Value- The actual overall value of the object (for example blue jeans are medium value, and a white cup is high value) Corresponding values within the object will relate to this (shadows will be darker in blue jeans versus the shadows in a white cup)

Halftone- The intermediary tones or middle values, not the highlights or darkest shadows. Think Light Halftones and Dark Halftones.

Halation- An effect of placing an opposite value in the background (negative space) adjacent to that value area of the subject (positive space).

Sfumato- A Leonardo Da Vinci term used to describe a blending of values in transition. The word has connotations of "Smoky" in Italian. "Without lines or borders in the maner of smoke, or beyond the focus plane"- Da Vinci

Chiaroscuro- A term broadly understood to describe the strong contrast in illumination between light and dark in an artwork. In Italian it translates to "light-dark". It also has a reference to light IN dark.

Basic example of light falling across a form (light comes from the upper right). Consider the values from right to left: Highlight, Light Halftone, Dark Halftone, Shadow, Reflected Light, Shadow.

Seurat

Seurat

Seurat

R. Tweedy

Kathe Kollwitz

Kathe Kollwitz

Lopez

Skull and Head Proportions

The skull provides the basis for understanding the form of the head. The three large masses of the head are the cranium, the skeleton of the face and jaw. Consider the forms of these masses simply. The cranium as a sphere, the face as a flat plane that descends off the cranium and tapers toward the chin and the jaw as a horse shoe shape that hinges underneath. Notice where the skull protrudes to provide landmarks, where it recedes under the flesh. (Following two examples are from Szunyoghy's Human Anatomy for Artists)

The profile of skull. Notice the ear hole location, not centered but 2/3 of the way toward the back. Also see how the head rests slightly forward on the neck.

Below we have an example from Bridgman's Constructive Anatomy. Here he illustrates some of the muscles in the head. Good to consider as for developing from and gesture in the face.

BEGINNING THE CONSTRUCTION OF THE HEAD

In the construction of the head, it is better to begin with a cube in stead of the familiar oval. The oval is non -specific, the eye won't rest on a curve and cannot find a register point. The cube gives a sense of mass, perspective, foreshortening, angle/ tilt. Also importantly, it gives a sense of the third edge. From this starting point we can begin thinking of planes as they relate to the head - top, front, two sides, back, and bottom.

The basic measurements for the cube are 2/3 wide, 3/3 high. The side of the cube (profile) is 7/8 of the height. ( From the profile it looks ALMOST square, from the front (face) it is a tall rectangle.)

The basic proportions and location of the facial features can be constructed as the example demonstrates (Example is from the website Draw23.)

-A Vertical Line down the center from top of head to chin. Through this line we see the Bilateral Symmetry of the features.

-A Horizontal Line is placed at the halfway point. This indicates the lower lids of the eyes.

- The whole height can be again divided, but this time in thirds. The upper horizontal line indicating the middle of the forehead, the second the base of the nose. In the bottom third, two thirds of the way up to the nose is the center line of the mouth.

- The corners of the mouth line up vertically with the center of the eyes.

- The top of the Ear lines up horizontally just above the eye at the eye brow.

-The bottom of the ear lines up with the base of the nose.

Most of these guidelines can be drawn in on the cube, allowing you to place the head spatially and in perspective.

Below we see an example from Bridgman's Constructive Anatomy demonstrating the planes in the head. These are very basic, but a good way to begin to refine your head form.

Below is an example from Szunyoghy's Human Anatomy for Artists. It further illustrates some of the agreed upon proportions in the head. Included are the space between the eyes equals one eye width. The whole width of the head is five eye widths. Also illustrated is the top and bottom of the ear as they relate to the eye brow and nose (good marker). The width of the nose is also illustrated to be approximately the space between the eyes.

IMPORTANT NOTE*- All these proportions were largely agreed upon during the Renaissance, and are considered guides, not hard and fast rules. they do not necessarily account for the variation of people, races, ages, etc.

Below is another Bridgman example providing some insight into the neck and head the muscles track and connect with the skull. Of particular note is the Streno -cleido- mastoid (#8) a great reference point in figure drawing, spanning from the clavicle to behind the ear.

FIGURE-Planes and Construction

Figure- Planes and Construction

Plane- a flat or level surface (no elevations or depressions WITHIN). An area of a two-dimensional surface having determinate extension and spatial direction or position.

Spatial direction and position are important terms for us to consider. This allows the eye to read if a plane is sloped toward or away, what angle , and what the profile of the shape is. Joining of multiple planes begins to create form or the impression of three dimensions. A simple example is to think of a diamond (the precious stone) it has a form that is composed of a multitude of planes or facets. Drawing the human body can be approached this way, thinking of the three big masses (head, rib cage, pelvis) as blocks with cubic limbs extending. Gradually more and more subtle planes can be added making more complex transitions and form. It is best to WORK FROM BIG TO SMALL- the whole to the detail, the big body masses to smaller masses, etc. The following examples are all from Bridgman's Complete Guide to Drawing From Life. These are also presented in an order of process , more or less. Remember basic to more complex.

The 3 Masses of the body (Head, Rib Cage, and Pelvis) note how they are consider blocks (and their proportions) and their stacked position. The twist and bend are easy to see and describe as the relationship of these blocks turn or lean. Essential for carrying the basic movement of the figure.
Horizontal Axis of shoulders, pelvis, knees. This gives an understanding of where the balance is, how the body manages to distribute its weight evenly, and where the body opens or compresses etc.
Basic example of planes going up the back and side (almost two sided at its simplest).What is important to notice is the forward and backward slope as it moves upward or downward.
This is a good way to think about each body part, as a cross section. Is its mass similar to a cylinder, box or pyramid- round, square, triangle.
Further example of this shape of mass. Notice how the shapes alternate as they transition through a limb.
This example of the arm is interesting to see how planes can rise up and dip down as they meet another mass. To use Bridgman's term, they wedge together and interlock.
Planes of the leg from behind, notice how the planes begin to describe muscles.
The torso is a complex structure with a multitude of planes describing its surface. these planes all change as the torso twists and bends. Again we see the muscle groups beginning to be described by planes.

Basic Perspective

Basic Perspective

Perspective- a technique of depicting volumes and spatial relationships on a flat surface.

Linear Perspective - a mathematical system for representing three-dimensional objects and space on a two-dimensional surface by means of intersecting lines that are drawn vertically and horizontally and that radiate from one point(one-point perspective),two points (two-point perspective), or several points on a horizon line as perceived by a viewer imagined in an arbitrarily fixed position.

Atmospheric Perspective (or Aerial Perspective)- a technique of rendering depth or distance in painting or drawing by modifying the tone or hue and distinctness of objects perceived as receding from the picture plane, esp. by reducing distinctive local colors and contrasts of light and dark to a uniform light bluish-gray color.

Picture Plane- An imaginary "pane of glass" at which the viewers gaze meets the illusion created on the two dimensional surface. To extend the analogy, the viewer would trace on this glass the three- dimensional object. Not just the material surface, a concept.

Horizon Line- A level horizontal line located at eye level.

Vanishing Point- A point of convergence of parallel lines located on the Horizon Line.

Scale- The apparent size of an object.

This example illustrates the same object in relationship to the Horizon Line (Above and Below.) Notice whether you can see the top of the cube or the bottom, which way the diagonal lines slope to the vanishing point.

The following Four examples were taken from Basic Perspective Drawing- John Montague.

This example illustrates the top of a cylinder (circle) as it approaches the Horizon Line. Notice how it changes to an elipse and further squeezes to a line.

Piranesi- Prision Series

Rackstraw Downes

Al Held