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: Three Course Code: Page 1 of 12

2 Week Three: General overview Last week you learned about light and shade theory and used this knowledge to shade the four basic shapes; a cube, sphere, cone and cylinder. This information helped you to begin making sense of all the different values that can occur on and around an object when light shines on it. This week you will be introduced to a Value Map to help you shade a silver kettle. A value map is very helpful as it allows you to concentrate on the shading process itself rather than having to continually work out where to place each different level of tone. It is easier to use a value map now that you understand the theory of light and shade. While you are working through the exercises this week, keep in mind what you learned about the full light area, half-tone areas, shadow edge, reflected light areas, cast shadow and think about where these areas apply in your photographs. Tip: Print out the photographs on high quality paper Before you begin any of the exercises in your course during this unit that contain a photograph to work from, please consider printing the image (single page only) onto quality photographic paper. If you prefer not to print on high quality paper or do not have the resources to do so, and you are studying by internet correspondence, you may instead consider working from your computer screen to see the details properly and clearly. You need to see the image very clearly in order to be able to shade accurately. Tip: If you are studying by internet correspondence, it s a wonderful idea to work directly from your computer screen if you can, when shading from a photograph. Just find a piece of board that is longer than your keyboard and prop it over the top of your keyboard on an angle, using some kitchen cups under the board at the top end. When viewing images from your computer screen you have the option to zoom in to small areas or alter the contrast (level of light and dark.) Always return the picture to its original state of contrast though, otherwise the shapes of the shadows will change and confuse you. Only alter the contrast so that you can see the actual shapes of forms in the dark areas that are hard to see. This will prevent you from just shading one big block of dark tone. Shadow areas also have form. Page 2 of 12

3 What is a Value Map? Many artists who draw (or paint) to achieve a realistic optical illusion of a three-dimensional object on a flat surface use some sort of reference material. This reference material can be a drawing, a photograph, a still-life set up, a scene before you etc. No matter what it is that you are looking to get the information needed in order to draw realistically, it is important that you are able to see all the different tonal values as shapes. Once you can see the shapes of the tones in your reference source then you need to draw these shapes accurately, position them in the correct place within the outline drawing and then finally shade them to the right level of tone. When you are doing this, there are many coordination and thought processes all going on at one time and it can take many years of drawing experience until these processes all work together synergistically allowing you to create incredible realism drawings. In the meantime, you can use this logical process presented to you here in the section on the Value Map to help you work methodically and logically to achieve outstanding results in a very short period of time. It isn t essential to work with a value map, nor is it essential to draw any of the shadow and highlight shapes on at first. Some highly skilled artists who have been shading for a long time, find the whole process of shading flows naturally with no initial drawing of the shadows and highlights needed at all. Instead they just draw the outline of the shapes then discover the shadow and highlight shapes (usually) during the initial paler layer of graphite. The process we will be using in this week of the course is simply to give you an introduction to this procedure of using a value map. Ultimately you can choose if it suits you or not. With this process, we begin with the outline drawing, then (very very super softly) draw the shapes of the highlights and shadows. Once these are in place we finally concentrate on the shading stage. As you are learning to shade you will find it very helpful to separate the outline drawing process from the shading and tonal process. Note: The shape of the shadows and highlights are just as important as the shape of the outline drawing itself. A Value Map allows you to concentrate on the actual process of shading instead of thinking about where to put each value. It usually consists of a series of numbers or letters written onto an already completed outline drawing with the shapes of the light and shade areas already drawn on (see Fig. 1a.) The numbers or letters indicate different tonal values that appear in the image you have chosen as your reference material (see Fig. 1b.) Page 3 of 12

4 You can use as many numbers as you like, so long as they relate to a value scale that you are working with. For instance, in this course we work with six levels of tone which is a good number for initially learning to shade. These six levels are indicated by a number as you will recall from your week one course notes. Number 1 is left as the white of your page and number 6 the darkest shade in the image. Numbers 2, 3, 4 and 5 are the varying degrees of grey tones that appear in between on your value scale. It is not necessary to write all of the tones onto your drawing especially when you are working in a Half-tone area as these areas can just be assumed. For example, when we are aware that a particular shape of tone contains a soft gradation (usually in the half-tone areas) it is not necessary to write in all of the tones that make up that gradation. Fig. 1a. A Value Map written onto the drawing Fig. 1b. Reference source Exercise One: Shaded drawing of a silver kettle Shade a graphite drawing of the silver kettle by first of all transferring the outline drawing (see Fig. 2) then creating a Value Map using the photograph provided as a reference source (see Fig.3.) Please note: Use the step-by-step illustrations as a guide because the photograph is a little flatter than a drawing and the various areas of highlight and shadows are not very obvious. Refer to the photograph to see why the shadow and highlight shapes have been drawn onto the drawing, and also understand that the drawings contain the five areas of light and shadow that are not so obvious on the photograph. If you look very hard you can just see the shadow edges on the kettle but it does take quite a bit of practice to really see the shadow edge areas. When we draw we don t just copy the photograph, we interpret it by using our knowledge of the theory of light and shade, our artists eye and knowledge of the object. Bear in mind that this is just a quick rendering of the kettle and shouldn t take you more than four hours. We are not trying to replicate the photo in a goal to create a photo-realistic likeness. That would take about ten hours for beginners to do. We are just using this kettle as an opportunity to get to Page 4 of 12

5 know the five areas of light and shadow positioned on an object. Notice in the final drawing that we don t include everything we see in a photograph. Step One: 1. Transfer the outline drawing of a silver kettle (see Fig. 2) onto quality paper. 2. Place a 6 tone value scale at the top of your drawing paper and leave it in place for your Instructor to comment. Fig. 2. Transfer the outline drawing and create your value map Page 5 of 12

6 Step Two: Create a value map on the outline drawing (fig. 2) in your notes. Use the photograph (Fig. 3) as a reference source. Write numbers all over the drawing in your notes using pencil. Indicate where the 1, 2, 3, 4, 5 & 6 levels of tones are. You don t need to write every number, just indicate the major shapes. This will help you a lot when you are in the midst of shading. Also remember to half-close your eyes so that you can see better. The darkest area is a level 6 tone; the shadow edge on the handle and round nob as well as the shadow edge on the top curve of the kettle body. Fig. 3. Your reference a photograph of the silver kettle Page 6 of 12

7 Step Three: 1. Begin shading your silver kettle with an HB pencil to a level 2 all over the shadow shapes first. You will gradually build up the tones to match the Value Map you have just created. 2. Use the same process of building up the tones that you used to shade the basic shapes last week ie: build the graphite up slowly, layer upon layer beginning with an HB and then progressing onto a 2B pencil and pressing firmer in the darker areas (see Fig. 4.) Fig. 4. Begin the first layer of shading with a HB pencil then move onto a 2B Page 7 of 12

8 Step Four: Continue the shading process by building up the level 6 areas with your 4B pencil. Finally go back over the whole kettle using all three pencils as needed; HB, 2B and 4B refining all the areas and making sure your tones are in the correct places (see Fig. 5a.) Fig. 5a. Complete the final layers of shading using a 4B pencil then apply the finishing touches with all three pencils alternatively as needed to refine Page 8 of 12

9 Fig. 5b. Use a tissue for the large areas and a Q-tip to blend the smaller areas and edges. Use your putty eraser to pull back the highlights and neaten edges. Page 9 of 12

10 Step Five: Finish off your kettle by softening the texture (see Fig. 5b.) Blend the entire kettle using a soft tissue (make sure it doesn t have any oils in it or a rough grain) in the large areas, and a cotton bud (Q-tip) in the small areas. Use your putty eraser continually as needed to pull out the highlights and to neaten edges. Follow the shape of the form at all times and work carefully, slowly and treat your blending tools the same as you would use your pencil. Add more 4B afterwards if you need to. The Q-tip removes some of the graphite. Then gently blend again, but don't overwork the paper. Go slowly and gently and look at your photograph and final drawing for an indication of where to shade. Tip: When blending, it is really a matter of exploration and learning as you go. If you do your best to maintain the five areas of highlight and shadow it will work well for you. Examples of Shaded Silver Kettles by Previous Course Participants: Here are some great examples of previous course participants shaded drawings of the Silver Kettle. These students have kindly given permission for their images to be shared here with you. Drawing by Angela Deck Drawing by Yana Buzby Page 10 of 12

11 Drawing by Capstar Drawing by Laura Rud Drawing by Norma Corbin Drawing by Sonia Santos e Silva Page 11 of 12

12 What to submit for comments this week; 1. Exercise One: Shaded drawing of a silver kettle One shaded kettle Final words Learning to shade objects so that they appear three-dimensional on your page is a very exciting process. At times, the earlier stages of shading can seem like the process is going to take forever. Many people report that they enjoy the final 25 percent of the shading process as it is nearing completion. All of sudden, before your eyes your silver kettle will become threedimensional and appear to become real. At this moment it is hard to describe the elation and exhilaration of just simply knowing that you can do this. That feeling is well worth the effort so keep on going, ride through the stages that you feel like giving in, and your drawing will find itself. Quite often it is when you let go of controlling the process that you really produce great art. The more you practice these logical processes with your techniques the sooner and better you will be able to draw spontaneously. The knowledge you are gaining can be applied to many other subjects as well, and is not limited to the examples in your notes. If you can make the time, you will greatly benefit by applying what you have learned to other subjects as well. Remember to have fun, shading is a wonderful thing to do! Your images will suddenly transform before your eyes but be patient, you may not like your work until the image is about 80% complete. We often doubt our ability at about three-quarters of the way to completion. Just when you feel like throwing your image into the bin think twice - rest instead. Come back to the image about 24 hours later and begin again, you will be surprised at how close you are to an incredible three-dimensional image. Relax and enjoy the process, shading can be a sensual and therapeutic art form that helps your mind to just live in the moment. Remember to just show up at the table! Page 12 of 12