Complete Drawing and Painting Certificate Course

Transcription

1 Complete Drawing and Painting Certificate Course Title: Unit Three Shading and Form Medium: Drawing in graphite pencil Level: Beginners Week: Two Course Code: Page 1 of 15

2 Week Two: General overview Last week we concentrated on learning how to see five different values plus white. You were introduced to the value scale which enabled you to compare the various values to one another. You learned to shade these different values using the smooth shading technique. You also learned how to shade three different tonal changes that are likely to occur when you are drawing an optical illusion of a three dimensional object on a page. This week you will combine what you learned last week, with some basic light and shade theory. This information will help you to make sense of all the different values that can occur on and around an object when light shines on it. This information is relevant for both drawing from real life objects as well as from photographs. Light and shade theory also enables you to create three dimensional drawings from your imagination (when combined with other drawing skills.) Introduction to the Theory of Light and Shade Using a single powerful and directed light source is best when setting up objects for a still life drawing because it produces a strong pattern of light and shadows. A good position to place the light source in is either off to the left or right and slightly in front of the object. This is the direction that the light source is coming from in the drawings that you see in your course notes this week. When light touches an object, it produces an interesting pattern. The pattern you are probably most familiar with would be as simple as very bright and light on one side, very dark on the other and an almost black shadow on the ground on the opposite side of the object. If we look a little closer and stare at the object with our eyes squinted (half closed) it will blur the image and simplify the details for us so that all that is left is a variety of different shapes and sizes of light, dark, medium, light and very light areas (tones.) Upon closer inspection still, we can see that this huge array of tones actually has a structure to it and forms a pattern that is repeated in other objects when the light source is held in the same position. This pattern that I am talking about is the basis of the theory of light and shade and it enables us to draw our objects more realistically. This basic theory is relevant when there is only one single light source present. Let s take a look at what we can expect to see in an object that is lit with a strong single light source. Please refer to the photograph of a cone (see Fig. 1) as you notice the following things; Page 2 of 15

3 A: The closest part of an object to the light source is the brightest and lightest area. This area is called the Full Light area and is usually left as the white of your page when drawing with graphite on white paper (tone level 1) B: The area where the object first disappears from the light is called the Shadow Edge area (tone level 6 when working with a six-value scale) C: Between the Full Light area and the Shadow Edge area there is a gradual transition from light into dark. This area is called the Half Tone area (tone levels change from 2 into 3 gradually, then quite rapidly into 4, 5 and finally reach the level 6 Shadow Edge area.) D: The object casts a shadow on the floor opposite to the light source and often a tiny bit under the object. This area is called the Cast Shadow area (tone level 6 near the base of the object then travels out to levels 5, 4 and sometimes lighter as it moves away from the object.) E: Often light bounces off the floor and any reflective objects surrounding the object you are drawing. This lights up the object and creates areas on the object called the Reflected Light area (tone levels can be as light as 1, 2, 3, 4 or 5.) B A E C D Fig. 1. Theory of light and shade on photograph of a cone Page 3 of 15

4 Construction drawing and shading the four basic shapes Here is a reminder about the four basic shapes that was discussed in unit one of the Paint In Your Pyjamas art course, and an introduction for people who have not completed unit one. Construction Drawing This method which is used by many professional artists and handed down from the great masters of art is based upon the knowledge that everything in the world is made up of four basic shapes or variations of them. These are the cube, sphere, cylinder, or cone. Cube Sphere Cone Cylinder In unit one, you were just beginning to learn how to draw so you learned about these shapes in a flattened form; the square, circle, triangle and cylinder. It is easier to think of these four shapes in their flattened form because you are drawing onto a flat surface (a page or canvas). During this unit, it is now time to move onto seeing things in their three-dimensional form Learning to shade the four basic shapes will provide you with a great foundation in understanding how to depict three-dimensional solid forms on a flat surface (the page.) The basic theory of light and shade that you apply to these four basic shapes can give you clues on how to shade other more complex subjects. Learning to see basic shapes within objects helps you to seek out the shadow shapes more easily. Exercise One: Shade a cube Please complete all four of the following exercises on the same sheet of A4 sized quality paper. Before you begin prepare an HB, 2B and 4B pencil for shading with the smooth shading technique. Remember to roll your pencil on fine sandpaper. Page 4 of 15

5 Tip: Always test your pencils on a sheet of paper before you shade your objects, to make sure they are working smoothly. Keep your putty eraser handy for any small mishaps and a sheet of paper under your hand to protect your drawing from smudges. Step one: Draw the outline of this cube Use the graphite transfer technique to trace the outline of this cube onto quality drawing paper (see Fig. 2.) Keep your outline very light paler than you see here. Fig. 2. Outline drawing of a cube Step two: Draw a small value scale at the top of your page Fig. 3. A six tone Value Scale 1. Draw a small rectangle measuring 6cm long by 1cm wide at the top of your page, just down a little from the top edge. 2. Divide this rectangle into six 1cm squares and shade each square with five tones just as you did in week 1 of this course. Remember that the first tone (1) is to be left as the white of your page. Place the numbers 1 to 6 underneath the boxes to indicate the level of tones. Page 5 of 15

6 Step three: Begin shading Shade your cube to a level 2 tone in the same shaped area as you see here (see Fig. 4.) Use a HB pencil and nice smooth strokes. Make sure you leave out the Full Light area (level 1) which is to be left as the white of your page. Notice that the outlines alongside the full light areas are much lighter and thinner than the other outlines. This is called Variation in line or broken line. We use variation in line to further add to the realism of the drawing. The outline should never be visible as an actual outline once we have completed the shaded image. It should become a part of the shaded area and the same level of tone as the shaded area. Take careful note of how the outline eventually disappears as we bring the shaded areas up to meet those edges. Level 1 area is to be left as the white of your page. Fig. 4. Shade to a level 2 using a HB pencil Step four: Continue shading 1. Using your HB pencil with more pressure, shade another layer on top of the level 2 tone to create a level 3 tone. 2. Begin on the side that is fully shaded (without the full light area) and complete that side before moving into the other two sides. 3. Gradually shade your way towards the level 1 areas on the other two sides. 4. Ease off the pressure on your pencil as you come nearer to the edge of the level 2 area. Complete your shading just before covering the entire level 2 area to leave an area of level 2 intact. By using this technique you will create a soft transition between the level 2 and 3 tonal areas (see Fig. 5.) Page 6 of 15

7 Gradually ease off the pressure on your pencil as you get closer to the edge of the level 2 area. The edge of the first layer the level 2 area is left untouched to form a soft gradation into the level 1 area. Begin by shading this side of the cube to a level 3. Once you have completed this side, move into either of the other two sides. Fig. 5. Shade to a level 3 using a HB pencil with more pressure Step five: Continue shading 1. Using your 2B pencil, shade another layer on top of the level 3 tone to create a level 4 tone (see Fig. 6.) 2. Begin on the side that is fully shaded and press slightly firmer around the edges that touch the other two sides. This will create the beginning of the Shadow Edge area. 3. Move into the other two sides and gradually shade your way towards the level 1 area. Ease off the pressure as you come nearer to the edge of the level 3 area. Finish shading just before filling the entire level 3 area. This will form a gradation between the level 2, 3 and level 4 areas (see Fig. 6.) The edge of the level 3 area is left un-touched to form a soft gradation into the level four area. Begin by shading this side of the cube to a level 4 tone by pressing firmly on your pencil. Create the beginning of a Shadow Edge area between the other two sides. Fig. 6. Shade to a level 4 using a 2B pencil Page 7 of 15

8 Step Six: Complete the shading 1. Using your 4B pencil, shade another layer on top of the level 4 tone to create the level 5 and 6 tones (pressing firmer to achieve the level 6 tones.) 2. Begin on the side that is fully shaded and in the areas that are to become the Shadow Edge. Notice that this is also a hard-edge area on the cube. Press slightly firmer to achieve a level 6 tone in these areas. The hard-edge areas are where the fully shaded side of the square joins with the other two sides. You can see these darker areas here (see Fig. 7.) Remember to half close your eyes and squint to see the tones more clearly. 3. Still shading the side that contains the Shadow Edge area, begin to ease off the pressure on your pencil as you shade towards the centre. Leave the middle of it un-touched. This is the Reflected Light area. 4. Lighten this Reflected Light area to a level 3 using your putty eraser to remove some of the graphite. 5. Create a soft gradation into this area by starting in the level 6 area and gently shading towards the centre. Swap between your 2B and 4B pencils as needed. 6. Once you have shaded this side of the cube, move to the other two sides using your 4B pencil to shade the corners only. Shade to a level 5 tone. 7. To finish off your three-dimensional cube, use your HB, 2B and 4B pencils alternatively as needed to make the gradation between the various tones more delicate. You are finished! Only shade a little bit using less pressure with your 4B pencil in the corners here to create a level 5 tone. Begin by shading this side of the cube in these hard-edge areas to achieve a level six tone by pressing firmly on your pencil. The area in the centre and towards the right and bottom edges is a soft gradation of Reflected Light. Erase some of the graphite here to create a level 3 tone in this area. Gradually darken as you travel towards the edges. Fig. 7. Shade the levels 5 and 6 tones Page 8 of 15

9 Exercise Two: Shade a sphere Use a similar process to shade the sphere as you did to shade the cube by gradually building up the tones rather than applying the darker tones too soon. Step one: Draw the outline of the sphere (notice it is just a circle until the shading is added) Transfer the outline drawing of the sphere (see Fig. 8) onto the same paper that you drew your cube on by using the graphite transfer technique. Step two: Begin shading Fig. 8. outline drawing of the sphere Shade your sphere to a level 2 tone in the same area as you see here (see Fig. 9a.) Use a HB pencil and nice smooth, curved strokes following the shape of the outline circle. Make sure you leave out the Full Light area (level 1 area) which is to be left as the white of your page. Step three: Continue shading 1. Continue the shading process by using your 2B pencil this time and introduce the shadow edge area by shading to a level four (see Fig. 9b.) 2. Carefully create a soft edge around the outside of the shadow edge area while taking very careful notice of the shape of the dark area (see Fig. 9b.) Allow the edges to gradually fade out into a level 3 tone and then into the level 2 are which is left untouched at this stage. Page 9 of 15

10 The Full Light area level 1 tone is left as the white of your page. The Shadow Edge area is a level 4 tone then gradually tapers off to a level 3 tone and into the level 2 tone area Fig. 9a. Shade to a level 2 tone Fig. 9b. Introduce the Shadow Edge Step four: Complete the shading 1. Continue the shading process by using your 4B pencil gradually pressing harder and building up the Shadow Edge area (see Fig. 10.) at the same time as gently blending out into the Half Tone areas. 2. Softly blend into the Reflected Light area and the edges of the Full Light area using your HB pencil. Hold your pencil very gently in your hand for the finishing touches. You are finished. Full Light area level 1 tone. Half Tone areas level 2 tone, moving gradually into level 3 tone then rapidly from level 3tone to levels 4, 5 and then 6 tones. Shadow Edge area level 6 tone. Create softly blended areas all around the Shadow Edge area. Reflected Light area level 2 tone. Fig. 10. Shade the level 5 and 6 tones in the areas you see here Page 10 of 15

11 Exercise Three: Shade a cone Use the same process to shade the cone as you did to shade the sphere by gradually building up the tones rather than applying the darker tones too soon. Step one: Draw the outline of the cone Transfer the outline drawing of the cone (see Fig. 11) onto the same paper that you drew your cube and sphere on by using the graphite transfer technique. Step two: Begin shading Fig. 11. outline drawing of the cone Shade your cone to a level 2 tone in the same area as you see here (see Fig. 12a.) Use a HB pencil and nice long strokes following the shape of the cone. Try hard to not let your lines be obvious. You are aiming for a smooth shaded area without strokes. Make sure you leave out the Full Light area (level 1 area) which is to be left as the white of your page. Step three: Continue shading 1. Continue the shading process by using your 2B pencil this time and introduce the Shadow Edge area by shading to a level four (see Fig. 12b.) 2. Create a soft edge along both sides of the Shadow Edge area while taking very careful notice of the shape of the dark area (see Fig. 12b.) Allow the bottom of the Shadow Edge to gradually fade out into a level 3 tone and then into the level 2 areas. Page 11 of 15

12 The Full Light area level 1 tone is left as the white of your page. The Shadow Edge area is a level 4 tone then gradually tapers off to a level 3 tone and into the level 2 tone area Fig. 12a. Shade to a level 2 tone Fig. 12b. Introduce the shadow-edge Step four: Complete the shading 1. Continue the shading process by using your 4B pencil gradually pressing harder and building up the Shadow-Edge area until it reaches levels 6 tone at the top and gradually softens into level 5 and then four tones (see Fig. 13.) 2. Softly blend into the Reflected Light area and the edges of the full light area using your HB pencil. Full Light area level 1 Half Tone areas level 2 moving gradually into level 3 then rapidly from level 3 to levels 4, 5 and then 6. Shadow Edge area level 6 tone gradually softens into a level 5 then 4 tone as it reaches the Reflected Light area. Create softly blended areas all around the Shadow Edge area. Fig. 13. Shade the level 5 and 6 tones in the areas you see here Page 12 of 15

13 Exercise Four: Shade a cylinder Use the same process to shade the cylinder as you did to shade the cone by gradually building up the tones rather than applying the darker tones too soon. Step one: Draw the outline of the cylinder Transfer the outline drawing of the cylinder (see Fig. 14) onto the same paper that you drew your cube, sphere and cone on by using the graphite transfer technique. Step two: Begin shading Fig. 14. outline drawing of the cylinder Shade your cylinder to a level 2 tone in the same area as you see here (see Fig. 15a.) Use a HB pencil and nice long vertical strokes. Try hard to not let your lines be obvious. You are aiming for a smooth shaded area without strokes. Make sure you leave out the Full Light area (level 1 area) which is to be left as the white of your page. Step three: Continue shading Continue the shading process by using your 2B pencil this time and introduce the Shadow Edge area by shading to a level four (see Fig. 15b.) Page 13 of 15

14 The Full Light area level 1 tone is left as the white of your page. The Shadow Edge area is a level 4 tone. Fig. 15a. Shade to a level 2 tone Fig. 15b. Introduce the Shadow Edge Step four: Complete the shading 1. Continue the shading process by using your 4B pencil gradually pressing harder and building up the Shadow Edge area until it reaches levels 6 tone at the top and gradually softens into level 5 and then four tones (see Fig. 16.) 2. Softly blend into the reflected light area and the edges of the Full Light area using your HB pencil. Full Light area level 1 Half Tone areas level 2 moving gradually into level 3 then rapidly from level 3 to levels 4, 5 and then 6. Shadow Edge area level 6 tone gradually softens into a level 5 then 4 tone as it reaches the reflected light area. Create softly blended areas all around the Shadow Edge area. Fig. 16. Shade the level 5 and 6 tones in the areas you see here Page 14 of 15

15 What to submit for comments this week; Please include the following on one page; 1. Exercise One: Shade a Cube One shaded cube 2. Exercise Two: Shade a Sphere One shaded sphere 3. Exercise Two: Shade a Cone One shaded cone 4. Exercise Three: Shade Cylinder One shaded cylinder Final Words These four shapes form the basic underlying structure of many different objects that you may eventually choose to draw during your life as an artist. The better you can shade the basic shapes, the better understanding and knowledge your will be armed with when tackling more difficult subjects. It is very important that you understand the placement of the various highlight and shadow areas so that it becomes easier for you to create threedimensional artworks. I encourage you to take your time with these four shapes and don t be in too much of a hurry to get on with the more challenging things. With a solid foundation in the basics, it will make it much easier and more enjoyable for you when you tackle more complicated objects in the weeks to come. Have fun, relax put some great ambient music on and enjoy the moment, shading can be a very relaxing technique to work with. Remember to Just Show Up At The Table! All the best for another week enjoy! Page 15 of 15