LESSON: TRANFERING DRAWINGS AND A STUDY OF VALUE Chiaroscuro Drawing Method. sloppy setup can lead to many issues later on with your master copy, so

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1 Chiaroscuro Drawing Method Clean Workspace The setup is the most critical stage of your master copy. A sloppy setup can lead to many issues later on with your master copy, so please be careful and precise in your setup. Use the old carpenters rule, measure twice, cut once, or in our case, measure twice, draw once, erase once, draw again, tear in half, or some variation of it. Tools: Vocabulary: Chiaroscuro- is an Italian word meaning literally the combination of light and dark. H3Pencil, HB Pencil, B Pencil, B4 Pencil, Master copy (photograph, magazine, or image of interest), eraser, tape, clean sheet of bristol paper or your sketchbook for practice runs and a scrap piece of newsprint (any old paper will do).

2 Drawing Broad Set-Up and Percptual Grid Tape Down Artwork 1Setup your drawing board, placing your paper and the drawing you intend to copy side by side, using the straight edges of the drawing board to ensure a good alignment. Secure your paper and the master copy, evenly and smoothly with artists tape. 3 Find a good straight vertical arrangement of points on your master copy subject where you intend to drop your plumb line, (the dark string). 4 Before starting the drawing, double check your plumb lines on the master copy and your paper and make sure they are ABSOLUTELY straight up and down. ANY CROOKEDNESS IN THE PLUMB LINES WILL LEAD TO A SKEWED AND RUINED DRAW- ING LATER ON. It is important you get these lines perfectly straight up and down. Did I mention make sure they are straight?

3 Structural Foundation Clean Lines 1 PLEASE USE SCRAP PIECE OF NEWSPRINT UN- DER YOUR DRAWING HAND TO KEEP DRAW- ING CLEAN AND PREVENT SMUGGING. When blocking in the drawing, it is important you work in clean, light, straight lines. Save the curves for when it comes time at the end to refine your block in. ALWAYS KEEP A SHARP POINT ON THE PENCIL! Don t let it go blunt. 3Keep the ruler handy, but use your eye and a length of string in your hand to measure and place your dots. Never use the ruler to do the outright measuring work for you, it is only there to triple check what your eye and string have already done. You will learn a great many things just from this alone, so triple check all of your measurements, it ll literally open your eyes.

4 Structure Of Form And Tone SUGGESTED TONAL BOUNDRY CONTOUR OF THE FORM Blocking-In the light and dark Areas TOOLS & APPLICATION:Use your HB Pencil,make defined lines to clearly indecate the form as well as the suggested tonal range CHANGE IN LINE WEIGHT: The contour lines marking the extermities of the form should be of a heavier weigth then the lines /shapeds indecating tonal change After you have confidently broken down the structure of your object into it s smaller forms, start refining the form. At this stage, you want the block in to literally resemble the silhouette of the master copy you are working from. Pay especial attention to areas of tonal change be sure to draw shapes to mark their boundiers. Establish all the minutiae, the convex and concave curves, round out the forms, work sensitively and lightly. Your pencil marks should still be soft and light and get your eraser handy and keep modifying the form.

5 Early Stage of Tonal Block-In There will be difference between how your render objects of differrent textures Notice how grad IGNORE the areas of midtone value and lighttone value. Squint, Squint, and find Value TOOLS & APPLICATION:Use your HB Pencil ONLY. Please use scrap piece of newsprint under your drawing hand to keep drawing clean and prevent smugging. 1 IT IS IMPORTANT TO IGNORE THE AREAS OF MIDTONE VALUE AND LIGHTTONE VALUE. These values will be rendered in at the last stage and won t need to be blocked in like the shadows.too much. This step is essentially like the block in stage, only you will be doing the blocking in with the distinct shadow shapes. Squint at your drawing by letting your eyelids rest and drawing your upper eyelid down slightly. The drawing should go blurry and many of the areas of value should either merge into one distinct shape or disappear entirely. Those large areas of dark shadow that merge are going to be your cast shadows. Establish the envelope for all of these cast shadow shapes.

6 Blocking-In Midtone Value JUST IGNORE the areas of lighttone value. ADDRESS MIDTONE VALUE Estabishing Spacial Volume TOOLS : Use your HBPencil /B Pencil ONLY. Please use scrap piece of newsprint under your drawing hand to keep drawing clean and prevent smugging. APPLICATION: when applying darker tone make sure to do so with light pressure DO NOT DIG-IN / GOUGE THE PAPER WITH HEAVY HANDED APPLICATION 1 After envelopes of the shadows have been established, then refine the shadow shapes just as you had done the outside block in. Keep these shadow lines very light, they will all be disappearing when it comes time to render the shadows in, and the last thing you want is a dark line outlining all of your shadows. When you have refined all the shadow shapes, go ahead and do a very light tone inside of your shadows just to help establish that those shapes are indeed shadows. This will help you differentiate the areas on the inside of the drawing when it comes time to render.

7 Final Stage Of Tonal Study SQUINT, SQUINT, SQUINT! Like I had explained earlier, squinting is the simple motion of resting your eyes and letting your eyelids slightly come together. Your drawing should blur, your edges should soften, and your values should group together and stand apart. Use the squint to judge relationships in the drawing. What is the hardest edge on the master copy, what is the softest edge, what is the lightest light, the darkest dark? All of these things will become clear when you squint at your subject. Remember to open your eyes when drawing though, you don t want to squint at your paper as well.