Unit I ................................................................... 3
Lesson 1: Colour Theory ......................................... 4
Lesson 2: Colour Vocabulary ................................ 17
Lesson 3: The Munsell System of Colour Notation 24
Lesson 4: The Colour Wheel ................................. 30
Unit II ............................................................... 39
Lesson 5: Colour Schemes .................................... 40
Lesson 6: Colour Psychology ................................ 59
Unit III.............................................................. 73
Lesson 7: Graphite Pencils ................................... 74
Lesson 8: Colour Pencils ....................................... 83
Lesson 9: Pastels.................................................. 93
Lesson 10: Pen, Brush and Ink ........................... 103
Lesson 11: Markers ............................................ 111
Lesson 12: Texture ............................................. 126
Lesson 13: Pattern ............................................. 137
Unit V .............................................................. 144
Lesson 14: Drawing & Sketching ........................ 145
Lesson 15: Light & Shade ................................... 151
Page
Unit I
COLOUR WHEEL & COLOUR THEORY
Colour Theory
Colour Vocabulary
The Munsell System of Colour
Page
Lesson 1:
Lesson 2:
Lesson 3:
Notation
Lesson 4:
Structure
1.1 Introduction
1.2 Experience of Colour
1.2.1 Sensing Colour
1.2.2 Surface Define the Colours We See
1.2.3 The Eye Records colour Stimuli
1.2.4 Three Types of Receptors Produce our
colours
1.2.5 Feeling Colour
1.2.6 Colour and Object Become Cultural
Symbol
1.2.7 We Perceive colour Depending on
Whats Around Them
1.2.8 Two colour Can mix Appear Like a
Third
1.2.9 Some colours Make objects appear
closer
Introduction
Page
1.1
1.2
Experience of Colour
Page
Page
1.2.1
Sensing colour
Page
Page
4) The
psychological
factors,
namely
the
experiences and the personality of the viewer, all
of which affect how colour is perceived.
1.2.2
See
Page
1.2.3
Page
1.2.4
Three Types of Receptors Produce
Our colours
10
Page
11
1.2.5
Feeling colour
Page
12
1.2.6
Colour and Object Become Cultural
Symbol
Symbolic ways of sensing colour are almost always
tied to specific objectswhite mourning clothes in
India, white wedding dresses in the United States
which is why one colour may have widely different
connotations from one culture to another, or even
within the same culture. To Americans, for example,
black is a symbol of death, yet a chair upholstered
in
black
leather
suggests
affluence
and
sophistication. According to colourist and art
educator Patricia Sloane, Response to colour
symbolism is a response to colour preconception,
and is a predetermined response based on literary
and psychological ideas about colour, rather than a
response to the nature of colour itself.
Page
13
1.2.7
We Perceive colours Depending on
Whats Around Them
Page
14
1.2.8
Two colours Can Mix and Appear
Like a Third
The third brain activity that influences our
perception of colouroptical mixtureis the
opposite of simultaneous contrast. When an objects
patches of colour are so small that they pass below
the threshold of conscious perception, we see the
colours as optically mixed.Sometimes, as when the
two colours on a topspin too fast to be seen
individually, we perceive a third colour. This also
happens when viewing a multi-coloured brick
building from a distance. The building appears to be
one colour, optically mixed.
Understanding optical mixture in interiors is
necessary for determining where best to use
patterns, especially in regard to their scale and
location in a room. Choosing a coloured pattern
without evaluating it in the position it will occupy in
a space can be risky. A tack board covered in a
fabric with a small pattern may look red and blue
close up, but from a distance the red and blue will
mix and the tack board will look purple among the
other red and blue elements in the space. That
combination may not be what the designer intends
at all, or it can be a way of achieving a new colour
without actually using it in the scheme.
15
Page
1.2.9
Closer
Page
16
Structure
2.1
2.2
2.3
2.4
2.5
2.6
Hue
Chromaticity
Saturation
Value
Luminance
Tints, Tones and Shades
2.6.1. Tints, Shades, Pastel Colour, Pastel
Tints and Pastel Shades
2.6.1.1 Tints
2.6.1.2 Shades
2.6.1.3 Pastel Colours
2.6.1.4 Pastel Tints
2.6.1.5 Pastel Shades
Page
17
Page
18
2.3
Saturation: Related to chromaticity,
saturation tells us how a colour looks under certain
lighting conditions. For instance, a room painted a
solid colour will appear different at night than in
daylight. Over the course of the day, although the
colour is the same, the saturation changes. This
property of colour can also be called intensity. Be
careful not to think about SATURATION in terms of
light and dark but rather in terms of pale or weak
and pure or strong.
Page
19
2.4
Value: When we describe a colour as
"light" or "dark", we are discussing its value or
"brightness". This property of colour tells us how
light or dark a colour is based on how close it is to
white. For instance, canary yellow would be
considered lighter than navy blue which in turn is
lighter than black. Therefore, the value of canary
yellow is higher than navy blue and black. Click here
to find out why humans are very sensitive to a
colour's VALUE/BRIGHTNESS.
2.5
Luminance: Although brightness is often
used interchangeably with luminance, we prefer to
use the term "lightness." This concept deals with
many of the same variables as value but using a
different mathematical equation. Check out our own
definition of LUMINANCE/LIGHTNESS or more
simply, think about the colour Wheel as colours
having equal luminance. Adding white will increase
lightness and adding black will decrease it.
Page
20
2.6
Tints, Tones and Shades: These terms
are often used inappropriately but they describe
fairly simple colour concepts. The important thing to
remember is how the colour varies from its original
hue. If white is added to a colour, the lighter version
is called a "tint". If the colour is made darker by
adding black, the result is called a "shade". And if
grey is added, each gradation gives you a different
"tone."
2.6.1
Tints, Shades, Pastel Colours, Pastel
Tints and Pastel Shades
There are not many of us who have not, at some
time or another, consulted a paint manufacturer's
shade card. Shade card? No, the one thing it most
certainly is not is a shade card. It should really be
referred to as a paint sample card. Neither should
we comment on such things as, "That's a lovely
shade of pink," for the colour we are referring to
most certainly cannot be pink and a shade of a
colour both at the same time. The word "shade" is
far too often misused when referring to colour, so
let us find out a little more about it.
Page
21
2.6.1.1 Tints
Page
22
Page
23
Structure
3.3
3.4
3.5
3.6
24
3.2
Hue
Value
Chroma
Munsell Notation
Munsell Colour Space
Munsell Colour Solid
Page
3.1
3.1
Hue
Page
25
Page
26
3.2
Value
27
Chroma
Page
3.3
have
3.4
Munsell Notation
28
Page
3.5
29
Page
3.6
Page
30
Page
31
Page
32
Page
33
Page
34
Summary:
Colour is one of the most vital tools in the hands of
an Interior Designer. What we see is colour.
Objects, landscapes, faces all register in our brains
through the light that enters the eye, sent to us
from a luminous or light-producingobject. They
can be measured by various instruments and
include hue, value, and chroma(as some describe
them) warm/cool, light/dark, and brilliant/dull
colours. Surfaces define the colours we see. We
experience the surface mode of colour as part of a
material or substance. The eye records colour
Stimuli. In considering the third factor upon which
our perception of colour dependseye-brain
neurologythe focus turns from the world around
us to the world within. The fourth dimension is that
we tend to perceive warm-coloured objectsred,
orange, and yellowas closer than cool-coloured
onesgreen, blue, and purple.
Colours also have a vocabulary of their own. Terms
like HUE, CHROMA, VALUE, SATURATION are a bit
confusing as they all are related to one word i.e.
colour. Hue: This is what we usually mean when
we ask "what colour is that?" The property of colour
that we are actually asking about is "hue". For
example, when we talk about colours that are red,
yellow, green, and blue, we are talking about hue.
Chromaticity: Think about a colour's "purity" when
describing its "chromaticity" or "CHROMA". This
property of colour tells us how pure a hue is.
Page
35
Page
36
Key words:
Page
37
Terminal Exercises
1. How does the human eye see colour?
2. Write short notes on the following:
a) Hue
b) Value
c) Intensity
d) Pigment
e) Chroma
Intext Exercises
1. Why is it important for an Interior designer to
have a very thorough knowledge of colour and
colour theory? Explain with the help of examples.
2. Draw a geometric composition using tints and
tones.
3. What is the Munsell system of colour notation?
Explain.
Page
38
Unit II
COLOUR SCHEMES & COLOUR
PSYCHOLOGY
Page
39
Structure
5.1 Types of Colour Schemes Based on the
Colour Wheel
5.1.1 Neutral colour schemes
5.1.2 Complementary colour Scheme
5.1.3 Triad Colour Schemes
5.1.4 Analogous Colour Schemes
5.1.5 Monochromatic Colour Schemes
5.2 A Little Technical Background on colour
schemes
5.3
Colour Facts
5.4
Tips on using colours
5.5
Flooring & Colour
5.6
Walls & Colour
5.7
Ceilings & Colour
5.8
Window Treatments & colour
5.9
Furniture & Colour
5.10 Open Floor Plans & Colour
Page
40
Introduction:
5.1
Types of Colour Schemes Based on
the Colour Wheel
In reading the following, you may want to go back
and look at the colour wheel to see where the
colours (also their tints and values) fall compared to
each other.
Page
41
Page
42
Page
43
Page
44
Page
45
5.2
A "Little" Technical Background on
Colour Schemes
Most rooms will typically be made up of 3 to 5
colours. One (or two) of the colours should be the
dominant colour and will be used extensively
throughout the room. It will cover the majority of
the space, such as the colour on the walls or wallto-wall carpeting.
Page
46
47
Colour Facts
Page
5.3.
Page
48
5.4
5.5
Page
49
5.6
Page
50
51
Page
5.7
Page
52
5.8
Page
53
5.9
Page
54
55
Page
5.10
Page
56
Page
57
Page
58
Lesson 6: Colour
Psychology
Objectives
To understand the psychological affects created
by different colours on different persons and
places.
Structure
59
Red
Orange
Yellow
Green
Traditionally Blue
A combination
Literally
White
Grey
Page
6.1
6.2
6.3
6.4
6.5
6.6
6.7
6.8
6.9
Page
60
Page
61
6.3 YELLOW:
Page
62
6.4 GREEN:
Page
63
6.5 BLUE:
Page
64
Page
65
6.7 BLACK:
Page
66
Page
67
Page
68
Summary:
Colour schemes are based on colour wheel. Study of
these colour schemes will help in making the best
use of colours. The basic colour schemes are
monochromatic, analogous, complementary, split
complementary, double complementary, triadic, and
accented neutral as they relate to the colour wheel.
Revision Points
a) Neutral colour schemes are easy to live with.
They are used as background colours.
b) Complementary Colour Schemes are those that
are built around two colours that are on the
opposite sides of the colour wheel. Examples:
burgundy and forest green yellow and purple.
c) Triad Colour Schemes - This scheme is applied
when a room's colours are based on three
colours on the colour wheel that are located at
equal distances from each other. Example: red,
yellow and blue.
Page
69
Page
70
Terminal Exercise
Page
a) Red
b) Green
c) Blue
71
d) Yellow
e) Purple
2) Draw and colour compositions using the following
colour schemes:
3) Monochromatic colour scheme
4) Analogous colour scheme
5) Contrast colour scheme
6) Split-complimentary colour scheme
Intext Exercise
1) Explain in detail any five kinds of colour schemes
based on the colour wheel.
2) How can colour schemes help an Interior
Designer in creating optical illusions in
a
room? Explain by giving examples.
3) What kind of colour schemes would you provide
in the following areas:
Page
72
a) Children room
b) Library
c) Office
d) Bedroom of a teenaged boy
e) Kitchen
f) Dining room
4) What factors would you keep in mind while
designing an interior space and what colour facts
would you keep in mind related to to any given
space?
Unit III
RENDERING TECHNIQUES & MEDIUMS
Lesson 7: Graphite Pencils
Lesson 8: Colour Pencils
Lesson 9: Pastels
Lesson 10: Pen, Brush &Ink
Page
73
Structure
7.1 Material
7.1.1 Clutch Pencils
7.1.2 Graphite Sticks
7.1.3 Graphite Powder
7.2
Techniques
7.2.1 Hard Line
7.2.2 Soft Line
7.2.3 Hard Scribble
7.2.4 Soft Scribble
7.2.5 Studio Pencil
7.3 Graphite Stick
Page
74
Introduction:
Page
75
7.1
Material
Page
76
7.1.1
Clutch pencils
Page
77
7.1.2
Graphite Sticks
7.1.3
Graphite Powder
Page
78
7.2 Techniques
7.2.1
Hard Line
7.2.2
Soft Line
Page
79
Page
80
7.2.5
Studio Pencil
alter the width of your line. Here, the artist uses the
broad edge of the graphite to block in a flecked
texture of broad marks.
Graphite sticks allow you to make bold lines and to
block in solid areas. Try the 'various types -hard and
soft; thick and thin -practising their various effects.
For example, in the illustration here the artist uses
the flattened edge of the point to lay an area of light
tone on rough paper.
81
Graphite Stick
Page
7.3
7.3.1 Blending
Page
82
Structure
8.1.1 Material
8.1.2 Ordinary Colour Pencils
8.1.3 Watercolour Pencils
8.2
Techniques
8.2.1 Cross hatching
8.2.2 Optical Mixing
8.2.3 Colour Mixing
8.2.4 Blending
Page
83
Page
84
Both ordinary coloured pencils, and their watersoluble versions (sometimes called watercolour
pencils), are extremely popular with illustrators and
animators. They produce a certain effect which has
become fashionable -a lightly-textured delicate
finish seen in many animation films and children's
and magazine illustrations. This lightness, in fact, is
the symptom of a characteristic which, for the fine
artist, can be quite a problem. It is difficult to build
up 'tonal contrasts; the white paper is rarely
completely obliterated. Even if you are using black,
it is difficult to prevent the paper from playing a
lightening role. It is not easy to build up tone as you
would with paint, because the waxy nature of the
8.1
Material
Page
85
8.1.1
Page
in sets of up to 72 colours. Children's and generalpurpose coloured pencils are all right for quick
sketching and drawing, but they are less refined
than those made specifically for use in the studio.
The pencils can be obtained in round or hexagonal
wooden
encasements.
They
look
practically
indestructible - but like all pencils, they must be
handled with care. This is something a lot of people
do not realize -if you drop them or treat them
roughly; the colour strips inside the wood will
fracture. Thus when you sharpen the pencil the
short crumbled pieces will simply fall away.
86
8.1.2
Watercolour Pencils
Techniques
8.2.1
Cross-hatching
Page
8.2
87
Page
88
Page
89
you can create a whole range of exciting, multicolour oranges from red, yellow and tinges of any
other colour you care to add? The resulting mixtures
-often delicate and unusual -' have far greater visual
impact than flat, commercially mixed colours. Try
your own colour mixing. The result will be
surprisingly effective and encourage you to
experiment further with this innovative medium.
8.2.3
Colour Mixing
Page
90
91
Blending
Page
8.2.4
Page
92
Lesson 9: Pastels
Objectives
To learn the technique of using pastel colours
and their areas of application.
Structure
9.1.
9.2.
9.3
Material
Choosing Supports
9.2.1 Oil Pastels
Techniques
9.3.1 Blending
9.3.2 Mixing
9.3.3 Side of the stick
9.3.4 Scribbled Texture
9.3.5 Texture
9.3.5 a Cross-hatching
9.3.6 Optical Mixing
9.3.7 Oil Pastel and Turpentine
Introduction
Page
93
used for work done with them; but they are also
linear tools, and therefore they have a rightful place
in a drawing book. In many ways, they belong with
the chunky materials such as the colour sticks, but
as they require more practice, they warrant a
section of their own.
Like colour sticks, pastels are ideal for large-scale
work and suited to a free, interpretive use of colour.
They can be employed on a small scale but there is
a tendency for this to have a 'chocolate box' look if
you are not careful.
Page
94
9.1
Material
Page
95
9.2
Choosing Supports
Page
96
These are heavy -more like oil paint than any other
drawing medium -and they do not crumble like
traditional soft pastels. They are therefore ideal for
outdoor colour sketching. They come in bright
colours, usually available in sets. There are less
choices of tone, but oil pastels are' best for bold line
work with the occasional block of solid colour or
texture. They are best used on a large scale. Use
strong paper. You can blend the colours with turps.
Limited colour mixing is possible by overlaying
colours, but this is not easy to control.
97
Oil Pastels
Page
9.2.1
9.3
Technique
9.3.1
Blending
9.3.2
Mixing
Page
98
9.3.3
9.3.4
Scribbled Texture
Page
99
9.3.5
Texture
9.3.5a Cross-hatching
Page
100
9.3.6
Optical Mixing
101
Page
9.3.7
Page
102
Ink
Structure:
10.1 Materials
10.1.1 Technical Pens
10.1.1.1 Dips Pens
10.1.1.2 Ballpoints
10.1.1.3 Fountain pens
10.1.1.4 Quills and Reed Pens
10.1.2 Inks
10.1.3 Brushes
Page
103
10.2 Techniques
10.2.1 Technical Pen
10.2.2 Quill Pen
10.2.3 Brush
10.2.4 Ballpoint Pen
work with line alone, or you can use line with blocks
of colour. Our artist demonstrates a line drawing
with a technical pen; a bright circus scene with
blocks of pure colour enlivened with dip pen and
line; and a quick sketch made with an ordinary
ballpoint pen.
You would be well advised to experiment with
different pens. Get the feel of an old quill pen and
compare it with- modern fountain pens, ballpoints
and technical pens. The medium can be used for
finished works or for rapid on-the-spot sketching.
Inks are now available in a huge range of colours,
some brilliant or even fluorescent; they also come
as concentrates.
Page
104
10.1.
Materials
105
Dip Pens
Page
10.1.1.1
10.1.1.2
Ballpoints
10.1.1.3
Fountain pens
Page
106
10.1.1.4
Page
10.1.2 Inks
107
Brushes
10.2
Techniques
Page
108
Page
109
10.2.3 Brush
Page
110
Materials
Markers
Felt-tip pens
Fine Liners
Techniques
Using Markers
Making Texture
Using Lighter Fuel
Page
111
11.1
Materials
Page
112
11.1.1 Markers
Wedge tipped markers come in sets or can be
bought individually. Each marker has a broad,
obliquely cut felt tip which draws the ink from the
cylindrical, glass holder. This glass holder has a
removable screw top to allow for refills. Many artists
prefer these traditional markers to some of the
more recent streamlined types because when not in
use they can be stood upright rather than left
around the desk or table. Markers come in a wide
range of colours, and each colour is usually available
in a number of shades. For example, one product
has nine cool greys and nine warm greys. The
colours are very accurate, but they do darken with
use. The life of a marker can be extended by
diluting the ink with lighter fuel, although this
obviously lightens the colour.
Marker artists generally work on special marker
paper because the colours tend to bleed on
ordinary, more porous surfaces. This makes them
unsuitable for the slick finish which markers are
most often used for. However, as a drawing and
sketching medium this may not matter indeed, you
probably prefer a brighter, more spontaneous effect.
The marker ink is soluble in lighter fuel, making it
easy to spread the colour in graded washes. It is
also an effective way of creating broken colour and
texture.
Page
113
Page
114
11.2
Techniques
Page
115
Page
To
overlay
colour, allow the
first layer to dry
before
working
quickly over this
with a second
colour. Providing
you
choose
a
good
quality
product,
work
quickly, and allow
the first colour to
dry properly, the
second
colour
should not 'drag'
or disturb the
underlying
colour.
116
To lay a flat
colour,
work
quickly in broad;
horizontal lines,
taking each line
over the edge of
the previous one
before it has time
to dry. For a
large expanse of
colour,
use
lighter fuel to
spread the ink.
Page
117
11.2.
Page
118
Lighter fuel-normally used to refill cigarette lightersis extremely versatile and useful, and an essential
item in the marker artist's studio. Not only can it be
used to dilute the ink, thus extending the life of a
marker, but it can also be exploited to create a
whole range of texture effects. Although most
marker manufacturers make proprietary solvents,
specially suited to their particular products, lighter
fuel is a cheap, all-purpose alternative and works
Page
119
Page
120
Summary:
Students should understand the role of colouring
and rendering and decide on the medium most
suitable for a particular presentation work. The most
commonly used and available materials are:
graphite pencils, Colour pencils Pastels, Pen brush
and ink and Markers.
The most common of all drawing instruments, the
graphite pencil, is by no means the easiest to
use.The pencil is ideal for detail, and for smallerscale working. It can be made to produce pictures
with amazing contrasts and subtleties of tone and
textures. Generally speaking, soft pencils make
dark, thick lines; hard ones produce light, thin lines.
Clutch pencils, Graphite Sticks, Graphite Powder etc
are used to get different effects.
Hard pencils produce hard lines that are paler,
thinner line than the softer grades, and are
generally less popular with artists than soft pencils.
But the thin light line is sometimes useful for an
initial drawing which is required to be inconspicuous
and not to smudge.
Soft lines are produced by soft pencils. Dark soft
lines characterize the graphite pencils at the soft
end of the range.
Page
121
Page
122
Intext Questions:
1. Discuss any two materials used for rendering and
their application and technique to use.
2. Write short notes on
a) stippling
b) scribbling
c) blending
d) cross hatching.
Terminal Questions:
1. On what basis would you choose the colour
medium for rendering any composition? Explain
with the help of examples.
2. Transfer the following view on a ivory sheet and
render the same in the following mediums:
a) Poster Colours
b) Water Colours
Page
123
Page
c) Technical Pens
124
b) Crayons
Unit IV
Page
125
Structure
12.1 Texture: surface
12.2 Overview
Find Relief with texture
The feel of texture
The look of texture
Texture affects colour
Patterns & Weaves produce
texture
12.2.6 Textures in a Room
12.2.7 Wall Coverings
12.2.8 Paints
12.2.9 Masonry
12.2.10 Hard Flooring
12.2.11 Fabrics
12.2.12 Trimmings
12.2.13 Straw, Cane, Rush
12.2.14 Pattern Creates Interest
12.2.15 Room Emotion by Texture
12.2.16 Combining Textures
Page
126
12.2.1
12.2.2
12.2.3
12.2.4
12.2.5
12.2
Overview
12.2.1.1
12.2.1.2
Page
127
12.2.1.3
Page
12.2.1.4
Texture
128
Wall Coverings
Page
129
12.2.2.2
Paints
12.2.2.3
Masonry
Page
130
12.2.2.4
Hard Flooring
12.2.2.5
Fabrics
Page
131
12.2.2.6
Trimmings
Page
132
12.2.2.7
Page
133
Page
134
straight
lines
(like
brushed
Page
135
136
Page
Structure
13.1 Combination of motifs
13.2 Overview
13.1
13.2.1
13.2.2
Combining Patterns
13.2.3
Combination of motifs
13.2 Overview:
13.2.1 A Pattern for Living
Page
137
Page
138
Page
139
Page
140
Summary:
Texture is the definition of surface attributes having
either visual or actual variety. Soft velvet, rough
stucco walls, coarse sisal fibre flooring, colour
alternation, smooth glass, and rock jaggedness to
name a few examples. Surfaces that have character
bring visual interest to the room without sacrificing
overall visual harmony. Some textures spell
enjoyment to you and you are drawn to touch them;
others indicate by their look that you will dislike
them & you avoid contact with them whenever
possible. A shiny smooth surface reflects light & the
colour appears clear & bright. Rough materials
absorb or take up some of the light & the colour
may appear deeper and duller. Pattern can
contribute to the textured look of materials.
Wall Coverings, Paints, Masonry, Hard Flooring,
Fabrics, Trimmings, Straw, Cane, Rush all have a
different texture and hence create different feel in
the space.
Texture can appear smooth or solid if the scale or
appearance of scale is small enough. Cohesive use
of texture creates harmony.
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Terminal exercises:
1. Explain the following terms:
a) Motif
b) Surface attribution
c) Foreshortening
d) Relief
2. Where all can a texture be used in a room? Give
examples in each.
Intext exercise
1. What do you understand by the term texture?
What is the difference between visual and tactile
texture?
2. What points should you keep in mind while
choosing textures for a room?
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Key words:
Comparative perspective - the ability to discern
and
compare
depth
differences
via
foreshortening.
Composition - the unity of various elements
either actual or implied that can be evaluated as
a whole.
Foreshortening - patterns, lines and shapes
becoming visibly smaller while the furthest edges
of an object appear to close together toward a
single vanishing point in the distance.
Motif - pronounced 'moe-teef'. A stylistic visual
expression or representation.
Relief - surfaces having depth, dimension or
varying shallow height.
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Unit V
Sketching
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Sketching
Objectives
Learning to use free hand drawing as an
instrument for explaining and presenting ones
ideas on paper.
Introduction:
Everything in the world is a subject for a drawing;
yet what you draw is not important. That you enjoy
drawing, and feel you are learning more about the
visual world as a result, is of the utmost
importance. This chapter explains simply and clearly
some of the underling principles 0f drawing. It helps
you to see every subject with a fresh eye and,
above all, it aims to remove the mystique which,
sadly, surrounds this fascinating and rewarding
activity.
There is nothing magical, for example, about
understanding perspective, about 'measuring' the
subject, or about drawing negative space. They are
all 'learnable' principles which, once mastered, will
help you tackle any type of subject with confidence
and enthusiasm. Although such fundamentals are
important, try not to treat them as 'musts', to be
slavishly followed.
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146
147
Page
Developing
Subject
the
1.
For
this
traditional
approach,
the artist starts by
establishing the main
lines of the subject. At
this stage, the drawing
is kept fairly sketchy
and loose to allow for
2.
From here, the
redrawing
and
lines are extended to
correction
as
the
show more of the shoe image develops.
the
finished
drawing
'grows' outwards from its 2.
From the initial
starting point.
sketchy
construction
lines, the artist works
3.
The
artist
into the subject, using
completes the work by
the line to describe the
putting
in
remaining
form of the shop
undrawn
areas
and
details.
3.
Finally,
the
drawing is completed
with further line and
detail.
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149
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150
Tone
Types of Shading
Colour and surface texture
Describing Forms
15.4.1 Planes
15.4.2 Planning the Picture
15.4.3 Negative Shapes
15.5 Perspective
15.5.1 Linear Perspective
15.5.2 Measured Drawing
Tone
Page
15.1
151
15.2
Types of Shading
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152
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153
15.3
15.4
Describing Form
15.4.1 Planes
Objects with gradually curving sides, such as
spheres and cylinders, are simple to draw: the
shapes are regular, and light and shade are evenly
distributed, making it easy to both recognize and
describe the form.
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155
COMPOSITION
15.4.2 Planning the Picture
When we talk of 'composition' we are really referring
to the way the subject is arranged on the paper.
This may be a single object -a vase of flowers, or a
figure. Or it might be an arrangement of objects, or
a complete scene.
Whatever you are drawing, it is important to give
some thought to the composition before you start.
These still-life drawings illustrate just four possible
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156
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157
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158
by
15.5
Perspective
159
Page
intervening
atmosphere
perception of them.
interferes
with
our
For the tulip drawing below, the artist first took the
measurement of one bloom, and worked out the
position and size of the vase and the other flowers
in relation to this chosen unit. For example, the
height of the bunch of flowers was exactly six times
that of the measured tulip head, and this was duly
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Review Questions
1. How important is Composition in a drawing?
What points would you keep in mind before
starting a drawing?
2. What do you understand by the term Negative
Space? Explain with the help of sketches.
3. This being a practical topic the students are
required to maintain a sketchbook and sketch at
least one sketch a day. The sketches could be
quick or detailed sketches depending on the
subject matter.
Stationery Requirements
The following material/equipment is to be used for
answering the review questions:
1. Ruled sheets of A4 size shall be used for
attempting the theory questions.
2. Use cartridge or ivory sheets wherever any
drawing/colouring work is to be done.
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Reference Books
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163