Keys to drawing

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1. Keys to
Drawing

BERT DODSON |:

Rediscover the art of seeing with:
+ 55 specific keys to improving your

drawings
+ 48 mini-lessons that help
you master techniques

+3 self-evaluation 2
checklists to help you
gauge your F

progress

2. KEYS TO
DRAWING

4. KEYS TO
DRAWING

BERT DODSON

N

6. Sse

7. CONTENTS

Introduction
1 The Drawing Process

The Artist

Handwriting

Proportions: Taking the
Measure of Things

The Illusion of Light

40

70

8. 5 The Illusion of Depth

6 The Illusion of Texture

7 Pattern and Design

8 Drawing and Imagination

Bibliography

Index

128

148

172

198

9. INTRODUCTION

ny Kaye

11. THE DRAWING
PROCESS

INTERNALIZING PRACTICAL DIALOGUE
+ TRIGGERING WORDS + DRAWING BLIND
+ RESTATING + SEEING vs. KNOWING +
INDIVIDUALIZING + SQUINTING +
SHAPE CONSCIOUSNESS + FOCUSING

An internal dialogue

14. IE involved, sch-analytical, critical mode; things in

ite ron formulas an techniques ou sad know

it ar
Pret

andy on

Sometimes practical interna da

real a dog be

Esilediigoring words, hey help you stay in the moment

i te

tally create that effec
Looking, holding, drawing a line

Drawing an be described tthe subject and

iin this sequence. In fet,
ght and knowledge. Artist and author Frederick Frank. in
hie Soak y Een Lv, expressed it this way AI the Rand
snd personal the tracing becomes.
ilustations al
meet br nd de

Project 1 - A — Feet

Drawing blind re

and conan bo daw as your oes reta on the bir int
inne oyu rene en
ode tin Fu

en

weve, 40 drawing Bid is best
interepers sit look told draw I
the ery stages of droing

15. Restating

wry if restating lines
ou? drag Took

16. u

at drawing la ital, changing

17. Seeing vs. knowing — a conflict

Shoes here ae dann from
bacon Each lc
Fndiiaalz don: Ths takes more
palin, bu the reall ae

me eng meses gering lg en
‘espn lo shal ur eg el

18. Squinting

What is it?

19. 1

21. Seeing vs. knowing — mental images

À “symbolic apple” dro rom ß

An “individual apple ra from

22. Pepper

roject 1-C

pr

23. Individualization

An exercise in individualizing

25. Developing shape consciousness

cate!

Pe really nothing to tisk

do Yo oye and yur hand dal he wok you,
ash

ay bel gh

27. You dr eer ej in hei Dia té nah
Keen ap maura .

fire an chair

28. id ei eri ape kn ng {
ee her cen
Hie Serene toate ay |
So ote ha a
: ch
ia \
Ke)
The variety of enrichment shapes in E wir

Behand gs D

29. The oer! shape a
aan fir ) Lith

O

The hen ofthe d's back
‘ins in Back an gray
Shape nly the are ron as
‘they were tetris on a map

As he drain
tears mier.
mary shape ge
re fed an
ret

may lok ikea map
or jie pul

Some shape ar emplsia, thers
rider or serios
ordinal

Songe lighting
rise dfn
‘ra shapes

31. Rule #3. Tie shapes toget

32. A string ef ig crete bythe
taal menting of hs mans thing
‘eth ha 9 he backround

Im petal merger the blac dese
fre el fg a eo bu ml
i the shoes

34. irn a portion of the mal
pas

35. he ssl ars nti drain
ar the ad man fac and he re
nl him. vas truck by the
Sires of te,

39. KEYS TO CHAPTER 1
The Drawing Process a

. #5
*
. ro ait

Choose seeing over knowing. Lear to concentre

Focus.

40. SELF-CRITIQUE OF YOUR PROJECTS

To properly er answer the following questons caeflly. Do
notte you think the à What ie

Project 1 - À — Feet ES no
Project 1- B — Hand YES NO

Project 1 - F — Mechanical Objects

41. 2

THE ARTISTS
HANDWRITING

SEPARATING YOUR TWO
HANDWRITINGS + FREEING YOUR
HAND « CONTROLLING YOUR HAND +
COPYING + EMULATING + EXPLORING
MEDIUMS + ERASING

42. an oh

47. Henri Matisse (1869-1954)
A decorative, elegant line

Vries nie soles

49. Vincent van Gogh (1853-1890) —
kes

51. Riga mt =
A deft line and a controlled scribble
Bigas n Degas work ve sr a Random lac bet

uc nd rth

53. Giorgio Morandi (1890-1964) —
A patient crosshatch stroke

Hating

55. Kathe Kollwitz (1867-1945
Soft ones and crisp edges

N

57. Copying

Project 2 - À — Copy a
Master Drawing

58. nr
Emalating
nance Tate area ais
ad
PRIS etree Lu

99000959999990995000950,

Project 2-B— Emulate à
Masters Handweiting

sing we hat hand

61. N

Control handwriting

ed the tone eve, often

D he point

Boch to get the result y
the ight haf of the bar. Ch
mg and by stepping
forro from dark fo gs You ca
pis score But den be surprised Wy dot better

Hard and soft edges

62. Tonal matching

and edge ns back and white photograph. Prt

aight tie of the face below Then place your
ein ext to the photograph and duplicate as
posible ech one and edge, By bula up patent and
Fpuntngfreqeeny, youl be able to get à good match of
Slight and mide ones Be portly sert

Hard edges, the Sot edges and those
photograph Thre

® Congo m nine fe

(etal shapes te pele La
She os ie ie ige mai
eines of pt.

Project 2 - D — Make a
Tonal Bar

M vor — Nate he

The precision patch

lenge sto make a precise drawing of some aml,
fica area perhops section of machinery oF à dose
fe Work sow and sie fra meticulous rendering. Hold

63. The free hand and the control hand in

combination
a on ee
N Seenland orderngbegns
A takes the nk the control hand me
4 sakes he ony, Ral and cation
ove between the fi
>the lose grip and back ain
wel eke place re sei who dn
| da for drawing, more flexible is obtained by shifting
n= J sonne event D: mode
L of our drain you ara nsunctvely shit to develop them Thi

Project 2 -F — Alternating
Free and Control Hands

rin and sharpen
sent te ds grb

64. NOTES ON MEDIA

Pen and ink (crow quill pont)
Hap deta

Pe and ink ar

Felt ip marker (water-soluble)

69. KEYS TO CHAPTER 2
The Artist’s Handwriting

70. SELF-CRITIQUE OF YOUR PROJECTS

aa >,
: YES NO

Project 2- F — Alternate Free and Control Han

71. re
3

PROPORTIONS:
TAKING THE
MEASURE
OF THINGS

SIGHTING + FINDING THE MIDPOINT +
USING PLUMB AND LEVEL +
LOOKING FOR COMPARATIVE
MEASUREMENTS + FORESHORTENING +
INTENSIFYING PROPORTIONS

73. Drawing by eye

ÓN Sighting — a tool for measuring

Arm etn z -

74. Finding the midpoint

Using plumb and level

Using comparative

81. Project 3 - B — Lounging.

83. Taking comparative measurements

92. Project 3 - D — Front View

93. Tied are

lige ith Camper gh ith of ed

94. _ $ 7
2 E

7 Î Ep if fon ch
he (te darkened aes of te AE o mnecrmen

apps Kind

L Project 3 - E — Three-
z Quarter View Portrait

> =

95. on the
ine

Compare ey back of treo
in Tey shal Be rima

onen, compre the

and ner Ds chin al
Sth awe of se?

he back than in the font To et

France had is mah ge than £
=

Therese hd

tor an side vee E
mw nes > ——
In th pole nth and ih are ST

96. ¢ ji
À 7
: ib
77 4

Neck sins hd the
et te al

97. Foreshortening heads

We've seen the hind o
an be fiat in such cases been
ferpleced when the reales ess than conv
cre of you wil trust me we
«sms that was
Sent ie prbler the ees head

Usingen sas nos! mal
Sr around mp

cer ns Turn oe her ie sa

meen the nove and eyebrows ies.
bout five a and ip thes Head forward and back
you move the eg wy Clove one eye and old
eue up bende Jos ue forward and back

cnt the eg ie the a human head
Whee you look richt the eg, the features appear
ricota When you

Daas ae lint he hay point thing happc
Bee thee ln und dno the mouth the eg ow
tne one hd he diane Bl ha how thee
‘Ai peers Tick the iher ways and youl ses how hey gather at the

Tote the proximiy of eve t bas

101. KEYS TO CHAPTER 3
Proportions: taking the
measure of things

+ Sighting. U

‘© Find the midpoint. Use his method to g

A. By hy

+ Use plumb and |

+ Compare measurements. Various part of your subie

+ Foreshorten

102. SELF-CRITIQUE OF YOUR PROJECTS

Project 3 - A — Standing Figure YES no

YES NO
3 - C — Reclining Figure (Foreshortene YES NO
YES NO

Project 3 - E — Three-Quarter View Portrait YES NO

103. Lig and had wil mak any for
lest eid and re nese, re:
‘St far le th sta fr
‘epee y 4 Reo

THE ILLUSION
OF LIGHT

MAPPING + MODELING + MANAGING
EDGIS + ANALYZING THE LIGHT +
INTENSIFYING MOOD + MERGIN
SHAPES = DESICNING WITH LIGHT

ey Fok tout

sally Lab o
In mind = we see the light” we “sed gt o asc,
re enlightened we Tal à dim view ol we have “ds

AS

rating he in a gs rey
Smtr of srt, berne
‘tapes oe an ls Ne he
ra ih seg

ip Robert Bester

106. , ro
o mpd aps

iris hat give
dean

107. Project 4 - A — Three
Mapping Drawings

vl or the pater mon

Theft of hang hn simple forms

Modeling light

at good ue of your contol hand se we. TH want you to
foe along with me while drawing, 2 1 e

With the light directed from above and to
the geapetrit try mapping te grapa fs
the rk and igh arene a you seth

‘Nest try drawing I more methodical. Begin with à
very ight mapping a before, ur this time Build ap the tones
Toy Instead of à sharp Avon beto the Lght anc
Shot siden mute a ven soft transition between the two as
Shown’ Put the reflected ight by darken the shad

Me Getting the right tone fr the reflected hight requires
Carlo judgmenttts never aight a the ae nero a
Sa the et ofthe shan aen. ave yu shen ark fo

the cnt shadow especialy where it meets the Bolton ec of
the grapefruit The edge of your cast shadow sh

‘wane shorer than the

Fall lin the appropriate
Fadela. Ths tone Mod meet

our stud: Lock for four

St you handle the ements wel you've ented a
costal hee dimensional luna

Light on other basic forms

“The Us pattern occurs on every form, A far sli
Blocks the difference in edges. The sft ages of th
‘Ova grapefruit are in mark contras with he sharply
‘ering pliner ofthe block: Ts much obvious. What i not

108. 0 abviou ithe rete ight, We sw inthe sphere how the Project 4- D — Light and
Reflets ight gathered tthe bottom edge neat te as N id

Shadow. Ths alo true in the cs o e cubo. Ihe shadow Form
Eide planes dakest ight slang the ge where it mets the Locate thre simple forms a
ight sde The nay remember the contrast = says cig an an

The sphere, the cube the cylinder, and the cone are Fe a the an o
what Cerne aid the four basi forma — fondamental
Tnviguretins from which lol metre

fang ight nen o yu, asemble hei foros and draw
them under a strong ight few oups ae shown belo
Fore cinder you sigh sae can af dama covered wil
D oc eof eb an

‘made of er
ce Bock dem myou wh tnd at

The fxmeapeainvasos gules in everything
daw. A bing ie Bally» rates
are sclualycyltders a meunisin a variation onthe cone.

Even the human figure can be sen sas Aare

Fite practice in drawing ght on he by
laity the ls pattern in your mind and be
bone when drawing completed subjects
Wee Sead mentored ht he ety odo gh
through tno fle srteny ra, thinking ofthe Is pate
Ken mopping tn dr a hand for Sample. Ere thnk

Tai chat te intra ater ofthe fae
nothing ike but se the

With he sample
in my mind map the ead a se

image fe hem

prs
butt liye the fourdaton for all that follows

Light from ight
ond ein igh cing from
the pee

) <2

Cas snd erally be aber y
Sonar st ab

decae elos er An

Frey sen te bef

db Oa ok te th

Fier rarer sur.

109. Managing hard and soft edges

y

a
uh %
sot ae. OGD Wh ink met yo elo costero

110. ar ols

Hard
inde harp

Project 4 - C — Head in
Strong Lighting.

111. The light source

ase “serie the ight” can be taken quit iteraly here
ies te pecs score drove

The qua of ight depends cnt source. À room
evenly I by Hornet ight wi tate drawing ft shapes
with soft modeling, while natura light from avon
Produces stronger modeling and sharper contrat. Bein.
Pen tonal ating er mur the et
Sure Once you determine thi you can apply the loi 0

fo mace sense of ight, magi that al
from a single source By means of he rap

Fig you were abe to deers the
ern. Even thought orate that your light sho
mone ection ony try 0 impose sme of that mp

tees

ting how the pattern changer Ar you continue
clone around te face: to prod
made ight and which wll Ge throw nto
odon: Shire height irom the sie and from below and
rec behind the bed, your

113. Project 4-D — Light and
Mood

EEE, The effect of light quality on mood

ect wns nt hay
the further

. In Phoenis, Arizona, Sur #
ts to rele brightly into the shadows reminds me othe
Ad oct phetoraphs in the fay sm

A good way 10 esperenc light and mood isto emulate
Monet using asimple abet ss ave dying and
these pages were done

116. Intensifying mood with striking or unusual
lighting

Baling fr ak es gts
(haha br fron ih fc
‘hee he fates a alt
na I

fe ey a Seedy ner

hance ren good de
Ein strangely it photographs o

ing or nga ighting not more del to A
sentant lighting if you Keepin mind the y

we have already disuse, i

‘Ask yourself, "Where the ight source? LA

2 Look for de pa side, rected
lhe, ct adr

© Model wath hard ond so

Se pet concen

dein. *

the most important ares

mes Ter. hs a ey ad
lv anna frias ae y
pd ening bp of
Tom Bao far nel
ar oh mod a tl

117. Intensifying mood with cast shadows

sig turning. and cipin in syrcop
Tater 18 Alm he

ee ei
Sell communiited by the ca shadows:

ein rol of sudo ee: with aight shit of

Foul be

Cast shades hace fo hei u. wrth the shadows elastic and fluid gual

118. Project 4 - E — The Cast
Shadow

119. Tonal relationship: strategies for a full
tonal draw

tens
cane, the

Simp ae she

120. Another problem is mind-ct Knowing hat snow is
white, the beginning student reluctant Lo apply any tone
I ior model: Clot examination of the photo,
However revels that there rin ac te pare whiten à
ov scene Clinging to mind-set and fang to get the tonal
"ange dark enough can make capturing challenging scene
nel impossible. Too early expectatons are an added
‘icity ell tonal drawing routes à pat ent bull up of
Sales Fhe student ws fs Gee es
Ein the groundwork wl become discours
probleme slowiy compounding 0 nc ong before the movie
ieccmingoverwheimed by a complex landscape need
not be your experien Beene thers are five salis Iba

À Ube venida
LA reste
Bal re sy

Fake a vicufiner out of a
inc square of white,
arbore Cut à sal hole out
À ap ove Be light toner
our subject ond lok Eu he
Sie pat as

sunlight Jou lesen the problem ofthe srk white pape
‘resting an overpowering contrast. You wil slo ininze eye
Feuer Squintingsimpifes observation, allowing us totem
3 ale overview when our habs (0 an rom part o par
By stunting throughs viivinder a small rectangular hoe
foto of apiece of white cardboard), you get he ärge overall
fattern of tone and you can compare the lights that you re to
Reste of our framing dence Vou may be surprised atthe
darkness ofthe tone

‘By sauisting you reduce thse tones o tre main
values He, msn, dark. Let the ite of your paper ake
{he fourth vale: there mon te much of in your drawing.
Ten reas that pattern by makings se seth À vale
ch atte notation ofthe general te
thre tones. If youre ole to invest an hour

"Ar you bein your laine drawing. keep the value
shetch had fot reference, Use ofa ie ll rained
You of the ig picture and the arrangement ofthe three main
Ses Use your squint o establah your three man tones and
Them sift halt mui se pou dicen more o
middle range ones. Can you see how the process work from
Berne othe spect

Finally, develo the more bt tonales and deta
ing your control hand to work the Is pattern and he hard
inst stage wl iake most cf the drawing period, you have
Seth cry werk wel thi prt pre pleasure Ec
with te tiggering word ark" bac" At any pint of
wh ine white of your paper. Do get to far ahead nary
one area because the seat of our drawing may ao int the
gr You set: Keep stepping buck to get the big picture, Us

Bei within your desing to make thee compas and
Rep asking youre“ Which darker?" and hie =
her”

121. Local als

The value pattern

123. Project 4-F — Merging Merging lights and shadows
Shadows ay

Tie ao ad in
ru fr rom ai he

nd back af
ie ner ben the to.

125. Light, shadow, and dí

Stef th li a nk
het meld thre be ae The te page sre of
mps si WET ma Ferdinand

127. KEYS TO CHAPTER 4
The illusion of light

128. SELF-CRITIQUE OF YOUR PROJECTS

Project 4- A — Three Mapping Drawings YES NO

=
nn
es ES

YES NO

129. THE ILLUSION
OF DEPTH

OVERLAPPING FORMS + DIMINISHING
SIZES + CONVERGING LINES +
SOFTENING EDGES AND CONTRASTS +
DRAWING THROUGH + SIGHTING
ANGLES + USING EYE LEVEL
AND VANISHING POINTS +
DRAWING ELLIPSES

end, a novice at drawing to sketch the
or me. He began confor
here the walls joined. Nest

farted o draw i he mas stopped by

le Hs ke

senora Thad hin hold
< md ht gave hr
Pel toc.

Creating depth ina picture
Simply dont understand what y
quick methods to check your

134. Project 5-A — Intensifying.
With Depth Principles

135. cafe cp “dr through

Project 5-B — Drawing
Through

Drawing through — a method for
experiencing depth

Se nn ler un
en
alan a
os
Beer
ee ad =
ty ol et sg ae he
Ben
O Another good drawins-throush subject is the human
Ba ane
ze boots Dan

at al object can be

Stored there Terre hand of bro an ale
Ind from al angles. My repeated fedrawing of stent
py ingrained in me the advan

139. Perspective — a visual approach

formalize system or drawing thre
dimension! spice, partcubriy where straght. parallel ins
pecirum of study. At one nd stc set of rules involving
{he other end of the spectrum are à few simple principle
which al opervation,

Soccestuly tackle à Victorian house or a ty street you
rehiecturl scenes and the science of perspective can ob
hs which expli Ihe forms in 84
We need o use it effectively. A General gasp con
ood ration, enough for most working art

Era your pre il
Beata lay el

oom skething and

Eye level and vanishing points

one ofthe

ia moment and lok.

ip — lig doe

al jes, horizon Iman
ye eel ce hericon ine © the terme are weed

e Ronzontal ines below the eye Ke) uh as
is and base boards appear
ipnard if there happens to bea horizontal ree
more ore thes you throug
you're drawing lovely, you mig
angles ofthe converging ines by eye. rin
or greater precision, and o it the whole inte à cokes
scheme, youl sometimes want to Ty on the perspective
System of vanishing pc
A vanishing int à spot wher paral ies appear to
"to converge at à point somewhere on the eye level

simply messure the
rang what you set

Mie glee —
sot

“Sometimes eye Level and tant, pots ar located on
jour paper and sometimes they ate not Sometimes you have

ne and not the other, When the horizon line and
snihing points ar en the paper, vos Rave an eu tne oF
horton line willbe above or below your paper, aná, more

ince than nol onc or bath venis pots vil be of
‘Shor ade
if you are drawing aa large table, you can eat ts
‘ut there and use push pins or dots to mack your
re outdoors witha set
te the slant ofthe converging Ines. It takes practice to
wor beyond your paper in this way, but lan be done

Law yd — an king
pat oe per ee eel i
[4

140. = en |
=

iA ZEB

141. Project 5-C — A One- Perspective with one vanishing po
Point Perspective Drawing

eri

142. Perspective with two vanishing points Project 5 =D — A Two-
‘When two vanishing point are involved, as when we face into Point Perspective Drawing
a corner ofa building, room, or other geometric cbject, we can Make a drain ke

be pretty sure that at eset, ner of hous

oth wil be outside the pit

work beens

Sighting strategy From Chapter 3.
sight anges simpy old your pened level in front of

you closing one eye and comparing any angle in your subject

‘ith the horizontal of your pencl When you dea that ange

time, youll want to check the sera of our angles y
inking youre “Do al he parallel ges ech lane seem to See
swith reasonable acura even hen the pot ff Jour is

In al thi discussion of mensuring and checking ls
otlose ight ofthe far that forthe ost pat wea dani.
by eye using the lok hol draw prone decanted in Chapter
1. Do your measuring fer youve sendy shtched in one of
thelines. Losey capturing the bi peture and then mod ying
enr han preplanning each Ine sect you putt down
its a6 ess mechanical Messuring by sighting and checking
‘nth perspective shold be used ara Dani for seating and
rang

ing pi

When oui Big from
hear sc side pers ©
‘anergy pit
igen

Yon can mesure anges by
td abi paras are
“rao e von Pan

144. Project 5- E — Looking
De

146. Ellipses

D hie The <del afte
Sine fees eyelet fone onesie he

M A one Cuts 2 on fing
erred by elo ol bete nein sar y De
our ee es hos mars cline
Rises Rakes eee sts ane et
LSP aH tus fa a sone he ae vel cl
Rites af Theo (Cool ebenen woud te ws

Accurate ellipses

Drawing a good ellipse takes prat. Youll have lot more
inthe drinking glass examples at right I you want precision

That an elipse 6 always divisible into four equal quadrants In
Ah end however, you shuld lar o rawr an elipe witha
regard, but basally these ae no shortcut To make a gond
Clipe, you willhae to.

alot of ther

If 00 are pose so that we
Lan ss inn inte the tp of he
bet the boton of the bote
vil appear a a clip a wel

Project 5-F — Ellipses

ips nds are alas rounded

147. KEYS TO CHAPTER 5 —
The Illusion of Depth

+ Draw ellipses. When

148. SELF-CRITIQUE OF YOUR PROJECTS
Project 5- A — Intensifying With Depth Principles YES NO

Project 5-B — Drawing Through YES NO

Project 5- C — A One-Point Perspective Dra YES no

Project 5- D — A Two-Point Perspective Drawing YES NO

Project 5 - E — Looking Down YES no
YES NO

149. THE ILLUSION
OF TEXTURE

ARTICULATING AND SUGGESTING +
SENSING THE STROKE + REPEATING
AND VARYING + CONTRASTING
TEXTURES + UNIFYING TEXTURES +
SHIFTING STROKES FOR DISTANCE

Articulation and suggestion

Combination of articulation snd suggestion The two work

together to delivers stimulating ace experien othe
weer carly pesoaded by ski
Smnudges hem that rs allan lso

151. Tih bis alla layers,

icon in you drawing, bat when tcone 10 texture,

hauen onthe part of

‘Sopsestion man

Sensing the stroke
Fes hind «goo state
Sled point an ete uggs tre ha vet

‘work Jul began moving your hardin alan mb and
pot es youl

En Bie o beter reflet the
nie ove eye moving from subject

io paper and beck aga Your serbble might eveve nto short
sputtering rubbing, erasing. or scratching out. Because you

153. Tiny ie ats mic th sat
spar ai

Textural inspiration

Once, while traveling on rain, became interested in ih
Profle of another passenger. The more observed the mc
{round her eyes, mouth, and chin. At the me. had only a
font I ih which to draw = nat wh

Took so] made the drawing at right. | bla both my pe
the rocking ofthe tran fr the course so at ane

Repetition with variation
delete of pair =a ye lcd sen
En et bye ola ae
ng these ra rl

cr mariée

Fo make the drawing mercy: When dont actully see
woe Repetition with varition ia design principe in both

art and nature, You find it he encens of string
pos

Ten
yor Ang
Ye ol ya Goel ope res and inthe nenne Foor
notes of Bethovens FLUR Symphony. In nat

prados ln ey pattern ndevey tue À a
Íovig animal, we sr sothed by pet on, bt beng Of
‘sles nature, we ike some vasito, ton

porridge cod ie

154. Ira ine ih straight oa
rex (oad ibe po

f I

Para diras cisco
Korea onde ren)

155. Ira street oil rare
Finer: (Water lala mater
rh pe)

Like to dea od and else textures from nature
(smoke or mater or Fram schnalogy (puahpins or spscemen)
1 nor my audience ha any Seep profes
al with ther, To rep
sally provides nesting ret.
In ding snd, used my bal pont pen to pepper the
surface wil ite spect. Thus provided wath repetition,
‘hen preceded to wary with regular ries
‘lasted cde
The ositops of Spin ae surtaces
sguasegeometric shapes, As they receded i
{Exturl stroke shifted from shape by-shapeatclation to
omoination of staght diagonal snd wary harzenal line
Stegen. At the frthet distance | Groped the horzomale
Seth, I hs drawing, the repetition sas provides by the
“Afferent angles ofthe rooftops andthe changing estra
oie
“The ephantis an animal made for texture drawing,
{com the long, hanging fol ofthe er over the tel
ont suri of the crown, 0 espion creuses I ie
Hohe rank Notice here he eet of shadow on teure
Since textures in large measure reveled by light stands to
fearon tha we ll ae len of inthe shade
"The tye drawings onthe righthand pag are some
eslora Idd on the subjects entre and echnalogy
The upper picture the pen bck fs raneinor rat
look Complex, ut tie ri jst mixture of ar sired
tod the astronsu este ont rc +

lightstack ares and les the

157. Pion Sof ranstio been on,

‘Sent Bonding, Ma

Raser Vigorous dab, rac, nd
a chin apr ms
‘athe tant Wert)

>

Contrasting textures

À the ways we appreciate texture sin open

her and lisent texture Every serous Geauga

rap oblate par

“rowing cates to the other textural aren around it They

‘layoff eachother and ts actualy posse fo heighten che
‘fone by working

an Dowleys drawing, À Cle av, wich a

natos this de. Thea

ss much tothe rough background sso the esqui
aná ie ey of becomes postive pay against

‘mistaken Kor se

stusco wal but in content

rondes by à red at: the pebble són

Phen you understand drawing aa st of relationship,
esto

159. Unifying with texture

160. The picture ofthe sea shel and fishing boats was ely Project 6 - B — Unifying
dom ep With Texture

vario dition (Ele marker)

161. Sirus re sole the saps

1 you should notice about hair
ri ches, sol drawing that sh
rite stroke enough For more

‘of light or both. In

ely against the
Serb hon executing individual strands, make
rp. Uae ieh. sense vouch and 1 ei at he endet

Tight cath end ide Tal serie

Project 6 - C — Hair

Fo Soft oa soe wih aly 2
wid" Alo 3) mine rae i. Pena

162. Light under with eos]
dador ring soe (Wer)

tres gard inte #
ee (Co pen Y

163. iol er dot Foliage — masses of scribble, patterns of

Repetiton with
llos surface
arate of te p

ha wl much nue en how

Project 6 - D — Foliage

167. Simple ar pam. tip

mate)

Project 6- F — Reflective
Surface

Hatching ste iin mare
shape alpine)

Reflective surfaces — blobby shapes and
high contrasts

ight thats

his texture usually a
ight shapes. Take

AB of corner off

mar dig feel with ee
teenie)

170. Texture at a distance

fe ñ

shit inthe

171. KEYS TO CHAPTER 6
The Illusion of Texture

Articulate and suggest el vending of
erie

+ Sense the stroke. Use your ati sense 0 “ee out

+ Contrast textures. Hite

+ Unify with texture. Use
strengthen the reatonahps seen

172. SELF-CRITIQUE OF YOUR PROJECTS

ee YES NO

173. ‘et te thee

PATTERN
AND DESIGN

DESIGNING WITH SHAPE SENSING
PATTERN + FRAMING + CROPPING +
STRADDLING OPPOSITES +

IDENTIFYING TANGENTS

wen sketching. and desig

pose ths
con

mode

dhcp you Bring di S forma

om. Your need 0 stop oh the stage an
ze cat From here you'll be mowing ators prop
Sou may take an Vl knoweit-when sees tad

bo have gen

1. The buldog blocks of piture are shapes which inch
rjc and ose os background

Bras cut ofa conse of wc and is
elstnnakipe of te ports ater th

aay based on same fo

These dss may seem unam a fit, but tei
reads have been interwoven throughout the text and
hk you wil ecognze them when You see them

175. This compe made uy of

ie nd the
ic re
ere te Für
Po LM
ue

The Picture Puzzle

The visual words vas nd unbounded collection of shapes,
bat adrauing of that words more Ihe apieturepuzue a
mem of pes within given border. ome of tho
ape are going to be the dojo youre drawing but just as
bebvcen, behind and extending tothe borders l your paper
These tackgrou

ein rag ing them, however, wil bea measure of

Before we go no ths
define the shape em tobe ured throughout he set
Generally, Twi refer 10 pi and mate shapes but to
Ésckground shapes, “lack and white” shapes “band
dark shapes ar paces Al times dstinctons wil be made
een ene ern, bu or mo conve that they il be
used nierchangeabiy. So lng e 390 remember that erin,

shape, you hve no problem in allowing these

Recogni

In sihouette, am destape
Bean ona piece paper. slbosens would actualy create
second Shape the shape ol the pace bind tha head and
Bandes by the paper's outer edges Tie therefore, would be
So press pustie as shown inthe example a Jl The
Woman heed: below, la singe shape In ths cae

white background shape on either sde. The vater edges of the
¿mall white shape i trapped inside the woman‘ stylish ha
inthe panda view, we see each of ce shapes separa
‘white shapes and one Hack shape ee a a
Returning to the let hand cxampe let’ Study the partir
arate of eath of the hte shapes tg

stogether Vorl otc hat a yu draw the white negative
Free snd negative shoes share common order

1g Shapes

Imagine you are looking atthe some landscape hat
‘Christy Ces sae wien che made he drown tight
Further imagine that you ae stewing hs scene trou the
atv wy ti cropped hove, You esas the he dr

This composition mad up of
Jour shape

the womans shout
‘inte ote shape an eher
tie ofthe head and the
treed shape her ar

176. masses of rescuing acrns the lighter shapes o field ard Project 7 - À — Three
Sheng tothe qoahty of teeaimenstonal poster Wy RAF
int enough, you can fedoce al res an hy E
ele dark uz This shape would normaly bea good
Seating place fr your rating bu e Imagine Has ou take
{he opp vc. Se your alent o the Held andy
ap Squat through the cut out window of your
ete and note te thee ge la shape and then
‘Now ls pauses moment, Dogs realy matter
whether thi len Mende or à Ua-on-white
lem! Why Trouble of sein both ways
Yen ove may ldo? These questo pet tothe very heart
Sede
"Ne stated eur that to design we have to sit o à
Farts: To understand what this meine es consider that
Theresa Ile struggle pora on between figure and
and ape each one trying o assert elt Like
they ealousy compete for
suffered cihersibkng win. Your
referee giving cach ecu tre
favor ofthe vers design Ths me
ng neher igure nor Background bat wing them x

‘Tying shapes together

Thus far weve been discussing figure and background a the
tho separate entities hat comprise the shape word There
‘more fo the picture however, When you suit your eyes

these are the physical objects themselves and the backs
behind chem. obre ae theres of light and shadow Po

The dark shapes
ar ltz in
le shape,

Ms ane 5
” Profs The more

Shape urreund

amare age

177. Faced shoulder had. In design diferent shapes of he sare tone ae
fingen merged in rr tui pi gt

nd ground together. Datks merge with darks, ights wih
ani mines mi melons repose dir

ed design and are themselves O
inv rg mt pater ofthe picture

Weve

en this interlocking fa
exten ction toll ares of your ture, toe
enter a interest to Background shape, you tend o lock your
‘rpanzation, Additional, you de so
hats mple ure of parado in the shape iin

ign shows a mans fce-shadow running
him In the third example allthe shadows are
mer, elminting the ditintions between Ihe and
ombraticn of form and cast shadows, bu its lo simply a
Hr, black shape Unconscouly we end o jump back and
fon Les a and np a at

Background she,

ing be whichis

E

ria workot rt

© EIS um ca q capis
Li seth eget te re ge eee

it background teins. Count the black and white shape in each
Both sados Bed tee na he utratons below. You need ot Rave am ec count if
Sing Shape Joan as inate outre ener cone

Count te shape I ach pia. (Annes owe)

oe anges a pue

ring ne de Pr RL A
sais am da pa 0 D
ad pg 2 dep no

lo no Y

178. Sensing patterns

“andan pata.

stern Project 7 - C — A Pattern
in Reverse