Realistic Petals on a Flower

Transcription

1 Flesch-Kincaid Grade Level: 7.6 Flesch-Kincaid Reading Ease: Pages and 19 Illustrations Realistic Petals on a Flower Use a chisel point on nine grades of pencils to render a detailed drawing of a flower with a focus on shading light and shadow Resources: 3.1.A3 Shade Graduations of Values 3.1.A4 Shade Three Dimensional Shapes Supplies: paper, 4H, 3H, 2H, HB, 2B, 3B, 4B, 5B, and 6B pencils; pencil sharpener, sandpaper block, erasers This activity has three sections: Sketch Petal Contours Establish a Full Range of Values Shade Light and Shadow Most illustrations are shown larger than the actual drawing so you can better see how the shading is rendered. Figure 1 Sketch Petal Contours 1. Use a 2H or HB pencil to lightly outline the flower s petals (Figures 1 to 4). Figure 1 shows how lightly rendered the original sketch is in reality. Figures 2 to 4 have been darkened in Photoshop to more clearly demonstrate the three-step process used to draw the contours of each petal.

2 2 Figure 2 Figure 3 Figure 4 As an Aside I spend as much time as I can sketching from nature. Dartmoor contains such a rich variety of landscape, as many boulders, foaming rivers and twisted trees as my heart could ever desire... When I look into a river, I feel I could spend a whole lifetime just painting that river. Alan Lee

3 3 Figure 5 Establish a Full Range of Values 2. Sharpen all nine grades of pencils to a chisel point. 3. Use 5B and 6B pencils to shade four of the darkest shadow sections of the flower (Figure 5). All other values used to render this fl ower fall somewhere in between the white of the paper and these very dark values. Figure 6 4. Use 4H, 3H, 2H, HB, 2B, 3B, and 4B pencils to shade the visible sections of the three petals in the upper left of Figure 5. Refer to Figures 6 to 10. Figure 8 Figure 7

4 4 You now have at least nine different values (the base value of nine pencil grades) represented in your drawing (Figure 10). Figure 9 Figure 10 Shade Light and Shadow 5. Use pencils from 4H to 4B to add shading to all the other petals (Figures 11 to 17). Figure 11 Examine each reference image closely and choose whichever pencils can render the same ranges of graduated values. The fi rst function of an art student is to observe, to study nature. Kimon Nicolaides, The Natural Way to Draw

5 Figure 12 If you are not sure where a specific petal is located on the flower, peek ahead to Figure 19. Figure 13 I keep drawing the trees, the rocks, the river, I m still learning how to see them; I m still discovering how to render their forms. I will spend a lifetime doing that. Maybe someday I ll get it right. Alan Lee Figure 14 When I draw something, I try to build some kind of history into it. Drawing an object that has a certain amount of wear and tear or rust; or a tree that is damaged. I love trying to render not just the object, but what it has been through. Alan Lee 5

6 6 Examine the values of each cast shadow to help you choose the appropriate pencils for their graduations. Figure 15 Alan Lee is a world renowned illustrator of books as well as a conceptional designer and illustrator for movies. He was born on August 20, 1947 in Middlesex, England. Alan studied at the Ealing School of Art and specialized in illustration. Figure 16 Alan Lee is probably best known for his award winning work on the The Lord of The Rings and The Hobbit by J.R.R. Tolkien. He created unique conceptional images and illustrations for these books and for the movies that were directed by Peter Jackson. His phenomenal illustrations can also be seen in a broad range of popular books including: Faeries (with Brian Froud), The Mabinogion, Castles, Merlin Dreams, The Black Ships of Troy, and The Wanderings of Oysseus.

7 Figure 17 A painter told me that nobody could draw a tree without in some sort becoming a tree; or draw a child by studying the outlines of its form merely... But by watching for a time his motions and plays, the painter enters into his nature and can then draw him at every attitude. Ralph Waldo Emerson Figures 17 and 18 are shown the same size as the original drawing. Figure Use HB and 2B pencils to add additional middle values where needed (Figures 18 and 19). 7. Compare your drawing to Figure 19 and make any changes that bring your drawing closer to the original. The tiny white sections in the core of the flower were pulled out with a kneaded eraser molded to a point. 7

8 8 Figure 19 Sign and date your drawing, and go find another flower, leaf, or tree to draw.