3 Y DRAWING A CREATIVE PROCESS FRANCIS DK. CHINGARCHITECTURE/ART $39.95 USA SsLS9 CAN | £2299 UK 4 "Drama Paleo ona clear vio. Te soo : renpes Tait ach tire ale : . Understanding. Drawing cannot be detached front seeing ard thinking abode the fundamental nature of the : aulyech matter being represented, i The knowiedge and understanding, ined through drawing from life a, 3 preety erhaaes ging drow rom the imagination, ust 20 ZEAE) roto can be pub neo words, eae canbe made visible in 2 aravting to Promote vival thinking and furbher Ghimulate the ymaginabion. Once what 16 seen or imagined 1 made. wiotble na drawing, the takes on a life of its awn ane communicates graphically, However dloquently or crudely, al? draeinge : opedk to the aye.” From the Preface q Francie DK, Ching ¥ _. [ae o-wnieenenn HTN gazes arcadia LY John Wey Sons, ne are. Pe et ae Go ace: GIN Third Avenue, New York, N.Y, 10138-0012 leone |. Sen ha Wa oP seed BRASS Sms osDRAWING A CREATIVE PROCESS:DRAWING A CREATIVE PROCESS + FRANCIS D.K. CHING naePREFACE Drauing ts0 2 long cotablished ele in the nisial arte, the recording of crento through hnstory, and the developmen of ideae in opr civilization. While vsvall thought & 29 on achicy requiring the ‘kil othe talented fon, drawing 0 a tabural, often apontaneove, human responce, Teople of al gee webinctvely Goalie wile engaged Wi eome otter aotivby, Even young children who deribole with erayoro ard markero of paper or walle draw inburtvely in 30 [Fbort to describe what they see, 12 represen’ whet they know, ahd ta axpress how they feel. Tho mint thie book ie to descrice the vical procces, of draning 26 an acceosible, Saya, produce achnky nhc, ob ite heart, b a create process, Draving 6 wcaly defined 30 Producing a likenoae or representation 9 something by making lines on a surface, The inference ig thab delineation 12 different trom painting and the coloring of surtaceo, While drawing 16 generally linear in nabure, it cam mclude obher pictorial elemento ‘ouch 98 dots and brush abrokeo which gan aleo be cen a6 lines, Whatever form 2 drawing takeo, 1 19 fundamentaly 2 meano of weion ‘and expression. Praming relies on a clear vision, Ib alo reaure thoughts which, meer, builds understanding. Brawing cannot be detached from seeing and thinking aout the fundamental nature of the Subject matter being represented The knowledge and understanding ggined throvah Arawing from life drecty eran Sur aby fa arom from the imaaination. lust a0 thought can be pot inbo norde, ideas can ve made voible i 2 arguing to promote vieval thinking and further stimulaze. the imagination. Once what 18 oeen or imagined 6 made visible ina drawing, the image bakes on a lite of ihe own and communicates graphically, hawover eloquently of crudely, ‘all drawings speak b0 the eye,With worde and images, the book abbempte ta luminabe the interplay H seving, nevalizing, and expressing Shaough dcowng. The aork'e srgonised Ima sequence which veqine with Underetranaing tne process oF DRAWING and the purposes for whnchit-can ve used, The LINE 19 the drawing clement Wack plays a erbeal role in She tormation of cur perceptions 20 well 26 the conotruchon of drawings, Lineo describe SHAPES, the pictorial forme which eetabligh themeclvee a6 images inor yieval field, and by which we organize and identify what we sec, Ge toniey the three dimenoione we expenence in realty, me rm underoband the bechniques which eHecavaly create the ilveion oF DEPTH ona two-dimensional eurface. In drawing out the ideas or concepte we ENVISION, We can more cfechuoly decign aid pian tor wnat doee nob yeb exieb except in the mind's eye. Frnily, the ack of draning Wesel v6 ecen 36 SPECULATION, 2 true design proceoe which kae distinguishing Characteriotico common to ary creative endeavor, The goal 1 to pronde an iustrated vide for anyone inbercobed m using Sraning 90 9 toe br Chovgit and communication. nite purest fore, drawing io accompehed frechand, without the aid of mechanical devices The emphasio io therefore on Frechard Arana with ommple tale 29 the most direct and intuttwve way to expreas our visual thoughte and perceptions, ust 39 we learned to write, freehand drawing skills are acquired and dotcloped by doing. The requires not innate talent nor the fanciest oF toale, bub rather time, patience, and the tallingrces to practice and persevere, Moot important Io bnderatanding the nay perceptve seeing and vival thinking are brought together n the creative process of draming.CONTEN PREFACE. DRAWING PROCESS AND PRODUCT.......... LINE ‘THE ESSENCE OF DRAWING ..... SHAPE THE DEFINITION OF FORM ......... DEPTH THE ART OF ILLUSION ENVISIONING DRAWING FROM IMAGINATION SPECULATION DRAWING AND CREATIVITY. BIBLIOGRAPHY. INDEX .. 157 181 201 205DRAWING PROCESS AND PRODU 1 draw te pate marke ona surface which sraphicaly represen Ye lkenose FP Sonbitng te Pree of tracing Images Ie 3 eiriple, yor power Roman geb of vieual expression. While it 0. army rected 'n ovr sUlity to sce, drawing car rover recroste tho ralicy we coos ib Gan only make vieible our'porceptons of that olker reality and. the nek vstons othe minds op, In the proceso oF raving, we creake 9 separate realty ‘whch porallole our experiences, Buch Grape representabene area vital Wedne of Pecording aur cbsoryations, givng form to what wo visualize, aid Soerduncating our thevghco. and conceptions.THE DRAWING PROC At the hear’ oF all drsnnng 19 an Inboractive prowess # secing, nevalizing, ed eprostng mages, The mange we bee give nee £0 sur diocovery 2 te worlds the images we vioualize, erable eta tame m ited terme and +0 Understand what we sees the Images We draw alow vo ta express and communicate avr thoughts and perceptiono, SEEING Vion 19 the primary sensory channel through which we make contact with our external world, it 1 our beet- developed sense, the furthest reaching, and the one, ne rely on the. moet £0 our day-to-day activities. Further, eur abity t0 ste, provides is with the raw maberial for aur perceptions and ultimately for what ve draw. VISUALIZIN The visual data rocewed by the eye roceeaed, manipulated, and flkere Sy the mind inibe active earch ‘or Brruckare and moaning. The mird’s creates the maseo We, em, and ese are the images ne atbonipe to dran. Dravng @ therefore. more fan a mani ok 96 youl ght process which depends on sur ahiidy not only to eee! but aloo fo vieualce. ioEXPRE In drawing, we make marks on a curface in an attempt te graphically Pepresent a verception 3rd under standing of the outer reality we see andthe inner imagery oF the mind’s eye, Drawing thus ie a ntal means of expression and 3 natural response 40 what we ee and visualize. It creates 2 separate world of images which epdak to the eye. A dranm image becomes park of cur visual world, and any power it hao to express and to communicate relies an our abiliky to 900 the graphic resem- blance te what we know and understand, The clarity of ite meseage and the significatce of the meaning depends ot cur ability to look into the image, read ke strekea, and diecern the: pattern and relationships they Cotablieh,SEEING The ack of seeing 19 a dynamic and crestve procose, ibe copabic of deliy- srg Sal eeimbroal copeion ofthe moving, Chang Wiogde which make bp Soe need herd. “his omift and sophisbicabed processing Fimages beaiig nnn oor ales rocous energy mpit in the form of visible light eitger iba source. or te votlection from illuminated eurtaces. The optice oF the eye form an upsde- Only 2.very emall area of the rekina 16 pmimage of mami ight rays mm capable H debnguching re deta ‘the retina, 2 collection of nerve cells Oureyeo must, therefore combaruall which are an extension of the brain, ‘scan'an oleck and tee environment ko ‘These photosensitive celle pronde a 900 ib mike enbirely. When we. lack at pont-by-point sesesoments oF the something, what we 2ee 19 actually Intenorty of light received, Thie mpub —eqnabructed from 3 rand succesdion te further proceseed by other nerve. Gallo in the retina and moves. dow the optic nerve to the vieual cortex of the brain, where celle extract epecitic featureo of the vsval inputs the location and orientation oF edges, movement, size, and calor, oF interconnected rebinal image, Our eval eystom thve dzee more than ppeouely ghd mechanically ecard the Physica? features of a vidual etimulvs, WP actvely transforms bse sense impressions of ight inka meaningful farms, Ib creates visval perception. ieLh Loonie FoR WATCHING FOR, [LTE MMe oF om] [Movin ventcLes: \ i FeEARCHING FoR, |A PACE INTHE CF LS, What we s¢e 1 largely influenced by our momentary need... SEEING IS SELECTIVE We do nob ove all that we are capable af sezing. We uovally perceive aur world according to preconceived notiane of that ne pepece or believe ba be. ovk there, These perceptsal prejudices make aur lite oimgler and ‘eater: We do riot have to pay full attention t9 each aed every vidal stimulus 30 # seein: tb for the first time each day. Inotead, We can select out only those which provde information pertinent 20 our momentary needs, This expeditious Kind ot oebing leads, honover, to our common use oF Iabels, stereotypical images, and visual cliches,SEEING FROM DIFFERENT VIEWPOINT We all de nob necessarily seo the same ‘thing. The picture in adr head w limiked by air inbehesto and what. we Kron. There may wel be afferent ways oF percowing the same visual semull Sccarding to the kind of formation cy Gach of ve bringe "0 the ack of oo0ing. = Us Ove cutbural erinronment- and the visual experiences of our lifetime alog madity aur perceptimns and teach Ue how to interpret! mht we see. +A botanist, a pamber, and a floret will each see 2 bouquet of Flowers ima different lant,OO sGertan configurations of lince and *Ab times, nhat we percewe doce not: match whab actually enete, a6 when adjacent ‘shapes can lead to.an aminguove shapes, hives, or tonal valuce affect cach obher's perceived qualities. interpretation oF form, 961 the: case ob cauvocal Figures ie SEEING IN CONTEXT » C a ‘There 16 net always 4 obrck ® correspondence between what we. ? see, and what we believe. ne sce, The CX : local environment. oF an obec, 26 well MOLLER-DrER+A+D UPeIDE-Dows T if 2 ts relatimohip t ether obs pace, can influence how we percee tO vbual charactorictics oF Sze, <2 ® < 7 a ve Shope, color, and texture, Parallel oe SUDD: A= Pozo: A= B prs +n the case oF optical illusions, certain configurations oF hnes can fal the: mind's eye into mieperceptions of lenin, cdrvature, and direction.VISUALIZING Despite ke mmpertections, site obill ‘the moot important sense for gathering information about our world Ir loking Bt object, ove vision allawe v2 40 reach ‘ub thraigh apace, ahd trace, tke contour, scan ibe eurfate, feel ita texture, and erqlore to environment. Wore por Bay viown engenders the vou that: that enaifes vs to tranoform meré discovery inko understanding. Je SEEING WITH THE MIND Visual thought lowe ue to abstract, analyze, ard eyntheoize the images we. see. [E19 an eavontial part. of our everyday lifer We think m images when we dewe down a street leaking fr an dddress, search for 2 mining piece oF an a crowded deaktop, oF 906 She talie for a dinner party. In cach of pheoe actinties, we attempt to match the magee we 9ce with the images we ald in the mind’ eye. We aloo think in visual terme when we draw. We do net simply draw what we oe. We deaw our perceptions oF what We: have seen. In drawing what 12 hofere vs, wwe can contours, shapes, and eurtacce, In torning our gaze from this image to the drawing ourtaco, we must hold that Image m memory before making marke whch represent that Image, h9 ne continue te draw, we cycle through 2 procese of scanning the subject, holding Fes image in the mind, and draming. The images we o0e in realty and the ones wwe create on paper are: brought: tagether yn the images we kald in the mind’s ee. 6iON ‘PROPORT: ta The quality a a dranng, therefore, hes 28 much to do with the acoursey oF ovr veal reaphiens and memery 25 the skill of he Hard im transcmbing an image onto 2 surtace, If we ace clearly, we ate better able te retain and implant the image we are seeking firmly m cur mind, and me are thus able 40 draw more convincingly. As 2 drawing emerges on paper, it reveals what we have Seen and how we have perceived te “The dranm image becories 2 separate: reality with a life of ke own which feeds’ back into the mind and becomes pare of eur visual memory. 80 while. drawing benchite from skill im nual perception and thought, the canveree to ala true, In attempting torepresent te images we eee, tre process of drawing stimulates pur Seeing, exorcises our vieual percep fon, 3d helps ve overcome, the unsecing glances which we are accustomed to omg n aur everyday veo, Just 39 significantly, drawing enhances our Bbalty te retain vevsl images in memory. 7DRAWING FROM MEMORY We vse short-term memory when drawing what. we oee before Us The images in our head, however, are nab limited to wht we seen the present. The mind’s eye hoe the unique"Shilty to transcend time and opace, Wt can tranepart vs to otter piacee and present to v2 imagee from the pset Which wore once geen and are row hold only m memory. Hf we can recall and priject these eval memories anke 2 drawing ourtace, we can draw from ‘ection on ove past experiences, 222 BY ENCOURASING ATTENTIVE SEBING, DRAWING REINFORCES VISUAL MEMORY, o ny} (oer Whee we de frm monary we are not pided ty the opbesl rooiBy we ace fotore , bot lather by the quality & the imagée we held in memory. Long. ‘term memory tends io strip from the remembered wage what re vnnecesea") for our presert neede. Drawing from long-term memory therefore. tendo to tmphasize the cosence of thingo and what we know about them rather Bran ak wea ce seon, o mprove our viual memory and enhance: our Blality ta-retain imagen for lator recall, wwe must learn 40 see. attentively a1 prachice drawing whal we eee, 6Ni DRAWING STUDIES Br LEONARDO MA MNCl SS The mind’s aye can aloo present to ve mages of an imnot realty and enabler eo dray proche of an magired = future, (Fie can recall visual memories, wwe can sbotrach nd analyze Shem, 9e6 Ehem ina nen a Parinne Thy new waye, apply prem to now sisatione, ard branstonm chem into new ideas, Thue we can draw cannot yet be boon excopt in the mind's tye, and we can vee these drawings to Simulate and communicate. design pocsibiities tor the future. SSN DRAWING BEYOND THE PRES! ENT When dranng what we ennsion, we are ret limited 12 the perapective views of optical realiky, We oFven draw from an wnaerotarcng'ct what we envision, which can be expressed in ther mayo. In drawing ese Visualieations, we project the imager Inour head onto the drawing our acen As thie image drives aur search on apr, the emerging draging Simultaneously tempers the image In oor head. Porbar thougrts cSne Yomind and are mbegrated into the process of visualization and drawing,EXPRESSING Drawing i9 the omplceb and most direct way of oepreseng our vival thought and perceptions. In drawing, we pull or drag’ a tool across 3 recepbive surface. ‘The moving pornt # the tod leaves tracee of |inee which correspond m shape and structure tothe forme we porcowe in reality of ze in the mind's Gye. There lize beneath the veible lines a3 aranng imped pattern of movement. In the normal dct oF vioval Perceptien, we can read these patterns Snd what they represent. ‘FORME AND SPACE Once > ne 6 drain, ext 282 grate coment, fixed m apace, tut the Kinetic nature Hf tte oreaton contimses oreveal alt to the ae. A lie nob only describes shape and structure, We sleo exprooses the pace, hy am, and cadence nth winch gs draw, if can be bold or delcaters can swell or taper as it rises and falles wt can ve denae or lgptly textured 36 te slope aorves 3 Gekbured ourtacer itetcan read into those quale the skill the hand andthe mbent oF the maker. 20DENSITY AND TEXTURE. VHT AND SHADE, MOVEMENT AND DIRECTION THE EXPRESSIVE QUALITIES OF LINES fe neval charagtervetce of a drawn ine aloo have the power of eusgeotion. They aftord 2 drawkag the unique ability 40 express certain qualities without having a true eimilarity 42 the sunect ib describes, In describing form, 2 dean line, can also express qualities of weight, density, and Surface; in describing space, a line Gan reveal definition and scales in describing light, 2 line can reflect intensity and dispersion; in describing movement, a line can depich pace and rhythm, This ie the opecial charm oF 2 frechand drawing which distinguiohes ib from mechanical dratting ard compuber= generated images, It expresses and Peveale +0 the seeing eye, in the avalty of te Ines and the underlying pattern 2 movement vsed to create, 2 vioval-tactile experiences The porn, ‘the toel ie merely an extencion a the hand that guides (, and the mmind’s eye thab directs ib, im moving aorose 2 surface and delineating a omique and pereonal vision, aiPENCIL on Fen and Inke___. MARKER. [ Charcoal. crayon rpc a v AL SIGNATURES Drawing reqpires the omplost materiale” 3 tod for making mark> anda ourtace fr receving te marks he Zar caaiy draw by dragging 9 ick Shrough She sand, ory rorming 3 linger aereop 2 frosted wincow Fane Fata more durable mage, bores 3 made farety oF drawing hotramenes dralabie. Bach nao ¢ Charactorssbic ein oie hands and when draun Burose 9 part ob face, each Zapoble making marke with cereain vidial signatures Thore are two bread categories oF draning media ~ dry and Wek. Dry tnedia, sien 36 araphive and charccal, — are Posponewe to pressure and the texture of the drawing surface, and capale oF 2 variable line tone ard width. Wet media, such a9 pon and ink grmarkers, are capable of & more free and flo line, of constant opscity and varying primarily m width, the following discussion ‘ill Zacus on representative tools of each type — fe neil ard the pe. Both are familiar, versatile, od reaponcie to the demands of a vatioty oF draming Sechniques and actintios @se the ole of the pol for 2 broader line PENCIL Weed- eased pencils are; mexpensive, capable of 2 variety of otrokes, and an be used t0 blend ard shade a6 well While 2 commen Ne pencil 19 certainly suitable for drawing, the graphite in drawing pencils © # better quality ard avaldble in 2 wider range of grades, from 2H (very bard) through F ard HB near 60 Gry stb The hacer grade of lead can produce Fine, light thee, while the eottor leads hn” render dense, dark lines and tenes. Fon moot freehand drawing, HO, B, and 28 are useful grades. Mitte thn Millie tassel tnt Wi he Wille wile Witt Mth, Mle ele: Mechanical leadheldore are designed to hold individual longthe of lead which are available in a full range of hardness ard thickness. The Shimer leado do rot Feqpire sharpening 29 do the theker ade but they cat enap caaly # appled wth 20 much preseure, Cackon and ebony pencil have brick, ‘0F6, black leads’ whoee bold strokes Sre tonducive to ack, expressve. sketches. Carporter pence are similar but nnth their rectangular leads, one can produce a variety of stroke midehs, FzTHE PEN Fone are capable of producing fluid, opaque, ard permanent Ines. There are Several bypes which are sueable for drawing, Felt, frer, or nylon bp markers came ina vanbky of sizes and tips. Fine fip markere cant make sharp, mcive lites which lead bo preciee, detailed dtanings, Broad-by markets ancovrage belder fines and quck visualizations mith the omision of detail wll Why hl Wa, We te hi: bln wit MMe Wee We. Wt, she Mia, io Fountam pene have 2 smeather, firmer feel A anvenon type sediee nk caréridgee and can sccopt 2 vane werchangcabie. aibo, Weibmg mbe have a firm, rounded bip which can move tasily in all directions, Drawing pots have more, Flexinlity and thus can produce lines oF varying thickness it Fesponse to the pressure one applies while deamng, WN awwEXPERIMEN’ You wl have to discover for yourselt the el ard cayablities of each ool 3nd ike eubalylity for your own purposes, Orly through direct experimentation ah you Kriow for eure what worde and illvebrations attempt te desoribe, Experience 19 the beat teacher since the charachertohic mark # each, tool 1s tranoformed by one’s sense of tauch and the particular cadence oF one’s stroke, Through experimentation, you should come to Know the chromatic values oF lor pencils the toral valves of arcealshicks; the fe endure of conte! crayon; the dense, glossy lines wear erayines the aot, fray el of pactela, In 3 similar manner, working with wer media, you can diecover the recioion of tecincal drafting pens and the fluid, painterly strokes! af a brush dipped in nk. 6COMMUNICA. Inexpressing what we 266 or envision, 3 rainy has the aby toinibgke 2 dual tmesoage. hab te communicates wl [ epond on bow we, n tre normal ack oF ‘naval perception, read the dranangis i les and mberprét. the underlying ' patterns of shapes and soructure. ‘ DEGREES OF ABSTRACTION ae LING SUBJECT MATTER A drawing reprosente and commu A draming of something w never thst - cates what we eee er emptor by ‘thing. le prodicoe ab beet a structiral Calling to mind analogove forms from oaslent, nob a mechanical repralichon the nbmedate ordwtane past. The” of realy, no matter how real t may forme te depicts must therefore have geem, Whether a drawing voters toa 3 graphic simianity or resemblance 22 Specific thing or simply'to 2 goneral what roprosents, vert an oeyect, chaos af things dopands on corkan 3B place, ona visual ideo. hiaual clce whch te venor can Understand — significant details, weaning concert, 2 recognizable point 2 new Pavevalizmg ree -l DRAWING PURTOEES GRAPHIC TREATMENT hat ques 3 dramng meaning ' roe bingy the tape, es grapne. Heatment 2 ee par of the mesoage. Row Something 10 Seon, whak edn 16 toed to oxprone tae nn, wha cchniqsen are emplayed te cnstlize Freimae, how that mage Sompooed sed ngndd Pentax i of then Sepecks quality ar vorcoption an ieberetatng of what i dean We make important chacee, therefore, in selecting \a pot of nem, doing a Certain tool or medium, and employing graphic techmuaues. These haces Srould be based ukimately on the. purpose oa drawing, whether it 6 Tatepresent. what ne sce, to culrwate Visual thought, or te convey graphic information and ideas, 2DRAWING AS REPRESENTATION With representational drannng, we seek. to sowurately record what ne see In reality. The’ drawing of thing we 900 befor’ ve, including the caretul copying a a master’s work, has traditsnall been fundamental training for artists and designers, In thie respect, draning te nat amply a okill bub an casential decipline, Which tame the eye, the mindy and the hand m aczurate acca, Correct perce pei, and the: making oF legible representations, Represenbatunal drawing can alee effectively record our observations for others to ste ard study. There are, rumersus examples of dranings being used in both the aciencee and the arto to illustrate and clarity visual infor mation from the world around ue. These refleck not only the okill of bhe hand, but also the opecitic interests, geebepay and inderstanding oF 1 ihustrator. Unlike photographie suapshote, desu tht Some a ve site ‘epee enrpore, Incrawing, we nave the Unique Sbiity to rsdlote mfarmaton Frolnirrelevant cmcoxt and to focus attention on apecific features or dusleice. With analytical thought and Tfeighs, ne can capture the eSpence HF cbmething and ctinguioh from what tba neh We can noe oynicane Secale and how they he nto an oral pattern. ErAPT RRR TEES OME fs | The ack of drawing and the careful seeing it requires can also enhance aur uideretanang # things By draning something aut, we are vetter able t9 Urderetand vev'al concopte, underlying structural patterns, significant relatienahips, schemetic organizations, and whatever glee We cannot see except in the mind's eye. Drawing aloo mproves ovr visual memory and aids in the recall of past persoptione, The procese of putting Sur visual perceptions down on paper leaves a map of aur impressiona, which can remind uo oF kon something was Seon and interpreted. Ibimpreases Images of what nas memorable on our emery. 2A PUZZLE ReauiRiN A PENCIL, raER, AND VISUAL THOUGHT: Without lifting: eur pecel tom the yeven draw sie Beatie nes thot Come ae DRAWING Visual thinking pervades all human actin We think in woud vers when We rearrange the Furniture in 2 rom, contemplate 2 move nthe qame oF chess, or plan 2 car tripon 2 map. Veval thinking 16 the: essertisl complement to verval theughe inculewating insights, seeing possiblities, raking discoveries, and imagining the Consequences of our ackions. Toward these ends, drawing can aive form bo and clarify oo visual thaughts, seqpence studies for Goermica,toa7 ther tale Acaeee) ISUALIZATION An artist studying yarovs compositions lor a panting, a choreographer orohes~ Tratilg 9 datée sequence or te kage, ard at archcece whegrsting the Sjereme of 2 building” all coe draming® i manner to exprene what Ee tmind visuals and to explore poooide Bibire courses of action Pm This bype of exploratory drawing e pare 9 tke crbothe proceee ai often Spencondad, ‘econ lysed ettectooly Bnd ones way ahoub thngg and einulate and ekporence certam Eooute id attempt econ nake ihe se bones ae annct: oramariy. be sok hy the eye porch re central fe He otablchyeont of shape, form, ard shrocturery @ az “ee dagrams representing dees aur nological evolution. (After Charles Darwin) - sf Design study of diemountable hinges c 600 ther Leonardo Patines) i ee Design studies tr 3 churchin Imatra, Finland, 16% fer Alar Aalto) Both the process of drawing and the- drawn iageo themselves can Stimulate the imagination, further promote the visual thought precess, Bnd encourage a metaphanc way oF thinking. Drawing often allowe us to see abhor things in what we draw, which can lead $0 other pessibilicies. A-senies of exploratory Grawings, even trough done in sequence, can be Seen side by side and Used +0 compare alternatives and generate new ideas. The degree of finish and bechnugue for explordbory drawingo varie wich the tabure of the pve and one's Indvidval way OF workung. Theoe Srawings, howoren are tovaly quick, informs and often personal Wyle te Mendel br eae Sora, they Can prone valuaie maigts eo 38 Vadwidcal®s creatve process. oTRa Sa ted beam® Ge SEE Dp eeu LS lon St ees ‘select lumbor we (SS 8 Foraran O ameneun clear boards lumber EXAMPLES OF DIABKAMS THAT ILLUSTRATE PROCESS, RELATIOVEHIPS, AND PATTERNS OF CHANGE Horizontal Shear DRAWING AS COMMUNICATION All drawings communcate. Representa~ onal drawings render hikenesseo # things for others #9 see ard underatond. Explaratory arauings qve vsibie. farm te me's ideas for athore to consider. Bhi abner araninge ate voed enpliciely to braremic 3 message or £0 convey wdormaton. Drawings are by nature information- rich. IEnould Be difficult t adequately describe with words what a drawing ie Bile to communicate ab 2 glance. Any drawing used te commuricabe must therefore have clarity, ke exper, and Ubilize conventions which are under stood by both presenter and receiver, One of the more common forms oF ‘graphic communication 6 the Jragram= 3 simplified drawing imhbircan dlustedee'9 process a sgt of relationships, or a pattern BF change or arent. Disgrbms ofen pale Sis a cong hich muse ves apne Aualoy Sese remind Seer Ase tos verlocnt. %© pear —<==x CONSTRUCTION DRAWINGS Another bype of graphic communica fons Wl pres cetbton Storage which offer a deagn proposal sthore for their review and evaluation. “Tbe effective, presentation drawing must zoaiot the imagination of others, accurately emulate a posse realty, ard illustrate the consequences oF Fubure evento, More ublhtarian forme oF graphic communication include. design gabtorns snoring arawingo, ard Cechnical illustrations. These are specitic acts oF visual matructions which guide others in the, construction oF 3 design or the tranoformation oF an idea into reality.LINE THE ESSENCE OF DRAWING A line can be concewed 29 a one-dimensional element characterized by its length, bot having no width or depth, Such 3 line dave tet actually geet ically. Yee am ripen perceves ao Ince 2, contowre, ore jocontinuties im plan Bortaca, co, of Foxtte, iv drawing the hage> we 9¢¢ oF envision, we rely primarily on lines bo Vievally communicate shape and form, The Iino theretme existe 29 the apintescential graphic clement of drawing. “ fant ~ rest. Lane = inwaraly animated tension created ay movement. The tno elements ther mbermunging and their combinations ~ develop there own “langusge! nich cannot be attamed aa coLINE We vee gestures te pin gue direction, 3rd te Sescrice shave ahd’ movement. Drowng oa ares erteneion coe geatites. Teetenehe impuleee perind See geetaces wie sown the gem tothe fond frat gudes the moring pont ct a fork. the rbauloing incor nates ore pec pean lng mike 2 2 descrve Gre contours which ommate var nessl world townie ne i Pie. Rime lo oo | The line 18 2 graphic convention which we accept since we, porcenve al Contoure 29 Ince of contrast, Theee conbraste are the discontinuities we 920.10 plane, eurtace, color, or bexture, ust'8 these lings are eribical te gue perception of the visible worlds they are ebsential in representing what we see or envisin' m2 araving. Contgur lines fret cerve te separate one, ching fram another. In limibing and deFining the edges & things, contour linee also describe thar snape,, if acon 3 His, the pealting mages are smply bwe-dimorsionel elhovettes. When used in combination, however, contour ines can Yoain to deacrive: three-dimensional farm.EXPRESSIVE LINES Lines have vieual qualibiee of ohape, tone, texture, direction, and move rent, which erable them to express qualities of form and opace.. Used in series, lines. can describe the tonal aed Focal valuco of surtaceo: As rely graphic elements, lines can Geo betome stylized and foren decoratve pattems nith 2 ide their own, REGULATING LINES Ina drawing, there may alga exit lines whose presence 6 felt but nat eon. In draning what we 90e before Us, we develop these requating hnes in ander to explore, qve measure %2, and structure eur’perceptions, In 2r3wing what we ehvision, we vse this Saine “ype of seructural lines 26.2 Frameitork on which we ean develap the image con in tne minds eyesDRAWING LINES Oranng reapires the some eye-mind- hand coorination 38 than required for writitg words on paver. And ‘ike writing, Be datintely-2 sellwhich can be ‘equired, For most of ve, a6 children, learning to draw the lethere of the alprabet wap intial difficult, laborous, ard fin. We became proficient 2b writin because of the repelibione we pero: grer along period SF time. Now, We ae sble to traneform thoughts into words on payer quickly aImeet tranoparently, 50 uth dfawing, practice over an extended porad of time "6 essential. seezing the drawiig tol too Sony cdaestovaar, Sra mecha taxed hand, holy, ated ars oF the drawing instrament, Using the writ, elbow, and shyulder 99 pot parts, we can campenastefor the rabural curvature of mg ines, BEGINNING EXERCISES our First gral learning ta dra ie to pegure cra araning nen the Tclayngonorco are intend Yo help you develop skill and confidence in line ‘drawing, Approach them with a relaxed bedy ard mina. Ao you dram, become conscious oF and senottve ig haw you iid the draning nakrament, th presoure min which you mark's surtacey and the quality of the drawn mark. Feel the surtace torture and the pont oF the drawing tool 29 1b glides actvee ‘the surtace, leaving a trace oF the medium behind ie, Drawing 6 39 much 3 visual thought Gece jb 9 goal a. a ont crotore, develop he ailty fo judge hat we draw 20 wo draw t. Draw oren, Gontsnuein ines, and evauate e9ch ine Sir ite straghtnees ar eared carrature. Drawing larcky can rene n nacraly ed Ie eee ne Ferd e drm 29 pordolume, Compensate ly Aramag Sony and deliorabely, Dornct rave dr draw wor a prevovely drawn fine, bot always abrve or ncremental improverent oer the last ine drawPARALLEL LINES: Draw vertical and horizontal serice 2 parallel ines about Ya ch apart From each other Caretully check each line for straightness and even opacing, and strive to make cach line straighter than the last. Use premously drawn lines and the edges of the yapor 2 visual guides eanbam UNES: Place. ten doe Yandom on a sheet 0 paper Then draw Sbraight lites which domect one ports with a more distant one. Draw in all directions without moving your baby position relate to bee sheet, Do noe Eoeve the Ineo to meet the porto, # you mae, ny again. CARCULAR SPIRALS: From the center paint of a cheek of paper, draw 2 arcular Spral, Ao ib opirale outward, the ine. Dhauld remain parallel be the pronove ring, with even spacing between each rma, Draw colo both clockwiee and cosrterclockwiee, OIRGLES: Practice, Aramng arow oF Gircles between guidelines 2 to? inche> apart. Draw with on even, continvous, ircvlar motion 9 that he curvature of the Ime ie emaota, Avo elliptical sirapea, I a eimilar manner, draw rows oF beth omalier and langer circles,pour | | nmrenmetar|ons wma cour [reese PATTERNS oF [NES REPRESENT? RESPONDING TO DRAWN LINES. The preceding exerciocs gare you practice indfonig a gree a ings sctrng toa sob A motructions, You wore first required to veusize according be the verbal directives ard then 10 dram. Now we mbroduce the idea of draming in response to lines which already oxiob, Before we bean bo dran, we face a blank sheet at paper We morcome! the empiincss mith the Firet Ime we dram. From that pont on, we are drawing net only im reoponse, te what we envision oF 222 out there, but aleo ta the lmeo which already exist on paper. Ae oon 25 they are drawn, they have. 2 ke of their own ~ 3 separate reality bo which we can respond, Our voual aystom seske pattomme that make Sonne’ thos we bond’te complete ty pabtern Which vo incomplete Solin to whist wo keow tow pact experienc Me anticipate 25 We visualize. Each successive line in a drawing therefore represents 3 entmorng ovarch forte Campion of 3 meaningful pattern,Warr LINES: CURVE LINES wrTH FONTS CIRCULAR, OBSTACLES GEOMETRIC OBSTACLES COMPLETING THE IMAGE, In these exercises, the intention 1 42 have you reopond to nhat already exobo 3s partial mages, and then complete he images according te your response. Each of vo may respond aiferently, and theretore the mares ve create may differ. Novorthelese, the practice im experiencing She mterachion oF fecitay wouaieng, and drawing mith A D-DIMENSIONAL FORM: Draw continuous lines From one ove the shect to the other: Polow the pattern yw see extablished by the Sesting lines and work arsued ebstaclee 3 you mect thon, be fry to respond 36 wall to the mage 28 ib evelroe ard bransforms teoelt with each successive lime you draw, aAs agraphic clement, 2 contour Ine 6 2 one mensional trace on 3 two-dmensional plane, eb thie the mesh efficient graphic means we have m drawing to represent Grree-dmensional forms in space, A contour line first marks off something from what tie nat ard gives it shaye, But tt doco more than describe. the auvline lohich eimeumscribes an abject. I can slo Cloenty descnbe qualties of form NS CONTOUR DRAWING Irena dang, ne drat fm oben on. We begin by lokeng cacefuly ab wha we'ee before v8. Thon te undo foke the process of scanning cach cantaur, holding Brimage of that line, voualizing te on porer, and draning that conbave, The gal i la deve ab an accurave correspondence ebweon the ee, 20 it Fallows the contours of a form, and the hand, 26 t draws the lines which represent thoee contoura Contour drawing thvs requires accurate ahservation, eenoteinty to qualities oF form, and shill n visualizing and drawing Ineo which graphically represents tase: qualities, Ie suppresses the eymbohe Abebractim we normaly vse to represent things. Instead, ic compele vo to vbiize our tactile 20 well 26 aur nisual sone, ard be 200 both the whole and ibe detaile simultaneously. @Draw 28 # you were touching cach contour with the pen oF pencil point. FOLLOWING THE EYE Santrdronns bat dn ha pit wall-okarponed pencil ov fine folb-Lp apalle of producing a ofary, mciowe ie, Searong € any conventone point im what we deer begin drawing tho contours. Concentrate on having the hard follow the path the eyes bake 26 they trace ‘the undulations and indentations of the edges oF a form, breaks in plane, 3nd oi) cant changes in val, texture, 2rd color. Reepend 20 tach and ever} ortace modolstion with eqwalere hard mmevorerto You may have te stop periadically a6 you Tense Ne ie Copal et taking these stopping poms too nevoue. Keap one pencil or pen it conack with the paper surface. Draw slowly and detikerately, and magne the arang tele n cntace wilh the suiged ao ovdene Bonet retrace cit? lines oh erase them, Most impor tantly, corat lot the hand move Faster ho oe con oe mone pase mich the eye and observe carefully, BThe slow and delberate proceso of caour rounrg compele ve 1 abe with earity and securely, Bicrow a comnnomg represen Eaton sm th contac, we ae sxderstand tilly tre rabure of form and to qualties of structure and qromcary, weight and deveity, mazorial a bowtue DEVELOPING VISUAL ACUIT While contour dramng develops keenness oF perception, visual ‘edity 9.2 Function of scale and distancen The more dearly we seo, o curve, the more we wll eet aware os forme debater the thicknces of its material, how © tume or bends around 2 carrer, haw materiale meet. and are assembled or constructed, When confronted mith a myriad of such details, we must Judge the relative significance. each detail, and draw only Ghose, contours which aré arodlubely edoential for the comprehen Sian and representation of the formCintapping waters dares contour leo ad fora tree nck “Steve to dPferontiate bard cornare and edges from soft vendo and folde. Ab certain painbe, auch a8 breaks in Plance or fade actrees contours, 2 Contour line, may be interrupted by another contour or dieappear. Ab ‘these junctures, only a rmimmum amouit of line wnay be neceseary to ‘how the epecihic nabure of the form, Experiment with how discontinuities, std selectively, can exprese these pslitie of form, Steve for economy Fine,EXPRESSIVE LINES Avingle line weight we all that 1 required Bote: Sedng, By nec fe touch, medium, and aurkace used to create tt, however, a Ine. alea hae inherent Galites of width, denoty, texbure, Srey, ond rbjenmn These gushes enable 2 contavr ine to ¥0 more expressive and communicate 2 brvader rage oF 2 form's qualbies.TEXTURE “The ayaities of form are mterrelated. In Darryle camay one ay, we teceasaniy ifeice ob exprosnon bed percotion ober sais 20 weil 7HATCHING BWW MODELING LINES There are eubbletice of form which cannot be rendered with a single contaur line. % convey these. complexibies of form, texture, and material, we can use several typeo af modeling lines. val} CROSS HATCHING Hatching refers to a sence of closely spaced parallel lines, Cross hatching Involves ‘layering two sete oF hatched linee for greater density and benal valve Seribbling 9 a network of more tandem, multidirectional lmes whose neu) Lexture will vary according to the line. bechnique used, In all capes, one must be conscious oF the tonal vdve being rendered aed be careF net te obeure what 16 cesen- Bally 2 line technique, ®<< SN Ary series of hatched linee mill create With texture and contour, the series a iieval pattern, IF epaced close. of lines can convey material charac- enough together the lines lose their Eeristice, auch a6 tre grain cF wood individuality and merge t2 form texture, the marbling of stone, ar the weaver With shape and direction, they can & fabric. model 2 form and render eubbicties OF light and shade,GESTURE DRAWING With experience mn seeing ard Fluency in rorreschting the qualities of forms ne Ugh pred trom’ the deiborate hatore octave drawing bo the spontaneity ¢ geature drawing, A sigieconbnodye ind org multiplet of been lines ore drawn frody and qely sorope 3 oheck 35 we ecan'a subject and praeck ox perceptim onto paper, Niteran anonmrnse | Sera zermees | drawing The nba, mine nature gesture iraying requires 2 Unity of sceind, Seana! acd drawing, The ek lee 20 gestures we draw vsually indicate the — bverall form, and thon significant details are woven into. the structure, The Imes may ‘allow the contours oF the abjeck 9 run counter t them. Variztions im pressure along with the direction OF the lmee. can imply volume, The devaity of the lines car reveal where we See significant details or what we moh te omphasize,REGULATING LINES We have seen how line are able to ofFecevely describe poberal qualiies a form, tonal Ya, and torture. Linco con also play 3 More apobract, comsirustwe rele. in Peguiating the seructural and the spatial Peationehips of forme in 3 drawing. Linee pe nclolted or the papese site they ratorally and eHcently express icngth, direcbon, and moveinent, lerevory] co oS Regulating neg Issued the aire, shape, ard 6 ge, ard thus Gonteal the eorall papertional Platine hive of bth form and apacce, These Gre straghe, traroyaront lines which are net limited by the boundaries oF things, They can cub through forme and exterd through 9pace 39 they ink, organize, and que dimension to the vahous Clements 3 araning, a+ PROPORTION The casieet neval pdaments to make initially are the horizontal and verbical relationships which can mezaure dimensiona, darments, ard offseto, Diagonal and tangential relationships béincon sinificant pots of a form can then ve voed te augment sna verity these intial jodgment’s, Regulating nes are- often tentative and lightly drawn, They represent vigual Judqmente te be confirmed of adwueted. They can be removed, bute they may alee remain 20 part of the final drawing n otder fo show the working process by which the drawing wae made,ORGANIZING THE DRAWING SURFACE SPATIAL RELATIONSHIPS: Remlating neo can eyprose the opal relationshige among the conot:tuent dlomente of 2 drawing compesition, These lines may nat ve neible to the a6, bi thew presence i felt 26 they pronde 2 veual framework on which the basic campononte of 2 drawing con be shaped and organized, DEFINING A PATHWAY FoR THE BYE. 20 regulating Inco represent veckers ‘the perceptual forces which lead the aye 20 scane 2 drawing, They define. 2 structural onganizabian Yor, and Serve 29.3 visivle map, the pointe af emphesie which must be balanced in ‘ay dtawing comproition, Th oF %DeFre BFA on os wr movement cee ee MERE TT Tg T | IE x ey | om od fo] C Support f 4 Lines easily fare grde which can regulate seructura, spatial, ard contextual rastonshipe pe be concerts So ST The organizing powor requatin linee leads £6 S mere abotract tyre Paraming the cisgram-= wherein fines con define the boundaries oF fields, onder both structural and spor relanonshing ard ave Shape to both sbotract ond-petoral contepte. @6SHAPE ” THE DEFINITION OF FORM «GD The role of the line naturally extende from describig the contoore of forme io the definition ef Figures m 2 veual Feld. Jur perception of the boundary lines. which Biting, oe ng fror grater ede ie aur recognition oF share. Ibs by shape that | fe dentlly, understart, and seprecitve. the Forms high make up obr veual world. In drawing, theretore,| the pattern of lines that we vse 40 portray okects in real space muet,'on a two-dimenoiaial surface, convey the shapes a things, 57Aer Hokuea” CALLIGRAPHIC LINES The utmate oxpreasien of the ine Uraming te calpaphy. Caligropy telere pretariy tb Bogart novavmt- Way te Ter, cwtocne rate te linear strikes canoe fe ved th peterial representation. Wiehe Rekible po oa yal poited brash that resbonde tthe proooure of the fond ged the ravement of the sr a Wate dt wrncncen me ton express the cobential quatiies o tori m an coment mance a‘The lines we see in vieual Space correspond -~ 4 Beadiecornibe changes in orl value,” yo i i color, texture, and pattern, These linee 2 f oF contrast, when sharp and dietinct $ Jf enough, enable ve to perceive ect - yy forms in epace and te distinguidh one <7] Saeco thing from snothon = fon “object: form Spatial form Woon we dra we woe able nas to o ‘asent the lince of contrast we Perceve Theoe drawn ines depen Sereeee Eipcoral nay the olage ad tntaura OF objeck- and spatial forms, They enclose a visually perceived ares and show re ane Beains ga anette apparently ero. i 60 dong, they ave Tope to the described areas. 50L_lvawing based on a photograph by Ansel Adamo Shape to 3 tww-dimensional concept oF a fe concsined yee ont bowiates and ag ot Frm a agger veugl Flds Thus shape relioe an the line that describes its odge or the contrast of tonal value, olor, or texture that eccure slong that edge. by Ing tat defines 2 shape om one oule cite contour simulbanzovaly carves out space on the other side ches path. A shape oan never ont ‘lone, e can only ve geen im relation to other shapes or the epace. surrounding 1.Fora ohape to he recognizable, t must be scon 36.2 figure. Ab the rtootald oF orcepton, ne begin to ace objects 26 igure opanet 2 background: thie relationship botncen Agure and back Ground 12 9h esvential concept in bre felony ta naval wry cast Bis dtlreicion neni cco t rough a fy. A figure with ono emerges from 2 backgrvond when t has certain charactenot.ce, ITIVE AND NEGATIVE / ° = By A L. The contour line which bordere 2 figure appears ta belong ta ib rather than to HE surrounding background, i the Figure appears to be closer and the Vackgroind tore dstant, 2. the figure appears to be a self- contained object While be vack= ground dace hat. Ab the figure appeare to be in Front of a continuous backgrourd. 61. The figure appeare to be wore solid on evbstantial than ke vackground, e G. the figure aepeare to domnate ite field and be more memorable 32 a meval mage A figure. which can be acon rolabwely cleatly against a background v0 said 60 have 2 positive shape. By comparieon, the Figire’s vackground appears to ve shapelees, and ie oad te have 3 negative shape, No part of 3 veval Fld, howorer, is broly inert oF reqabiven Both positive and negative shapes are ihherdoponderty they muse Cooxiot and link bogetner be form a Uinhed nage, We ret aee the whale wile amuttoneeusly percewing the parce, in proper relatonstip so Vach deel sith the Wade aiDRAWING SHAPES Contour drawing 1s 3 very deliberate process which emphasizes accurate abeorvaton and perception. AB We carefully draw contour lines im sequence, one aH anather, we dete the per Geived shapes of forme, Since these forme are rarmally seen 26 the pesicwe figures m aur visual Field, these contour hikes wil naturally define the positive shapes of 2 drawing composition. THE SHAPE OF NEGATIVE SPACE THE SHATE OF SHADOWS Ao we draw the edges of posibve shapes, we anould soe ve stutoly wave of the negative shares we are cresting, While ne normally perceive opatial vads a6 having no suvetance, chey ohare the same boundaries. 26'the forma they envelop. Indrawing, aloo, negative, spaces share the contove lines that dotine the edges of pootive shapes,IINTERLCCKING AND OVERLAPPING SHAPES IN THE LANDSCAPE In both seeing and drawing, we should que the oame attention #9 the shaves Pregotve spaces 38 ne dete pootare shapes of forme. Since negate Shapes do nob always haye the oaelly Fecognicable qualitioe oF positive shapes, they can be seen nly we make tho etic THE SHURE OF INTERIOR SrAce As we drgw a line, we should be conscious nat only # where if keqins and endo, bye aloo of kon t moves, and the shapes ie carves along the may. Each line lead to another, and then another and arobhen, thereey creating beth pooitive and negative shapes in space,PROPORTION AND SCALE As we become more sensitive to the nique veual characbemetice oF what we see and draw, we onauld ret lose Sight oF the total imager To enoure- things remain im their proper place and relationship to one another to avad making mauntaine ovt of molehillo — We mubt pay attention te proportion and scale. Propartion 2 matter of ratios, and ratio is the relationship between any tno parte oF a whole, ar between ary art and the whale, Inoneina, we ohould Perceive. the proportimal relationships Wine eps or prooron pe and chap, Corveapondingy, by vblizing F coherent: ooree ratte our drawings, weare able fe convey 2 sense ab amity wile sllonieg ter avarsrky of shape, colon and texture, JADSEOD 192 Templeany of the things we vee on 3 daily base are sized bo ou body dimenoiona ere Building clemonts are scaled 4 each other 48 well a6 the human body, fea avira Vi ( JH} “wan Man Related te proportion 1 the idea of sale, Seale refere te apparent size how bg or small we Felieve someting tobe, Inarder te measure ocale, we must have something oF known size 40 Which we can refer. Images ct people. are commonly used m this rtanner 0 eetablish haw large or omall other thinge are. This comparison ie based on our far vary nibh our om bady dimensions, and the reoult can make the thing we Sre measuming seam large a oral In a similar manner, we can also use a9 2 measuring standard something whose size 19 fariar to Ua, ard which, by comparison, can make Us Feel ble ar little,' | Bl al Yea fae perpendslor Pinel ae Alige| tips of papel 3nd fader mde edo of ine With the unt length, the relative lengbhe o other Ince can ke mesoured. SIGHTING TECHNIQUES There are several techniques which can holp vo make vival jgmate and anoure that things have proper shape Bdmerneral ebohie M ete Yenient one 20 veqin with ta voe 9 perl orcthar drawing msbeument 39 9 noual Suing dence With the penal hold oub at arm’ length, na plane parallel with our eyes and perpendicular to our Iie o aie, we coh qauge the relate lengthe dnd angles 9 fea, To make 2 linear measurement, we align the porcil’s tip mith one end oF a line we see and use our thumb te mark the ether ands We thon aie the penoll 42 ancther line: and, using the first measurement 25.4 unt of longeh, measure the second line's relative length, We normally vse a shorter ine segment to eabablish the unit of measurement: 60 that other line seqments can be multiples of that unit,Alga perl with | aioe ine Leal beet Molel Wart alge fe eh makes with an aosumed horizontal or vertical line. — r Method 2: Wald the peacl honzantally vertically ard vevalze the angie ‘Eimakeo mth sp ie I addrhon te mea ‘sung lengehe and angles, the pencil can Fe beed to qauge align- ments and the shapes oF negative apace, Ina omalar manner, ne gan vee the orci held ob arm longtt to goune She orale ab nhich a he devabes from the horizontal or vertel. Holding the peveil etter horiantaly or verticals Shu aligning b mth one ond oP angled fnew op gual ae te ie hetueen the Ine and the pencil The arauler mexeuremont can then be frdnotorred to 9 draunng vowng the chien the sco per se foncoital or verbcal teterence Ineo. oFa é #1 @ 1 mc unit lem, how ma long i line ® # Line @ ? Line unite A ‘ D e before we can exeecise wnsval dgment, we nude be able to ove shape and structure. With practice, ne con rler ta adge proportienal relahonsips. projech unie lengths, squares, even 4ride over what we sce in #0 a sare, nha proverton 2 eae BC Aelinges 6 det VISUAL JUDGMENTS. “The ability tw estimate Amensional rela tionships i 3b the root o all nective: arannng. With training and experience, he gan telze be pronave eabng techniques withaot an external device 00h 36 a rer or pencil. Instead, we Gan develop She ablity to measure the dimensions af a form ana gauge rela- tionships mith cur eyes alone. odo thus, we must: be able 4a hold m aur mind's eye 2 veval measuring obck. Wecan ther praect thie wage over sther aspects of hab we are drawing, When raking purely eal Juamentay 2 Important that any prelimimany 2seump- Boe be crooked Bpainct whee we actually see. When drawing from memory, wo must be avle to evaluate What We have drain ight oF what me. want te convey, 4 If lince a:b and Bc are extended, mith what other porte are they aligned ¢+ Vor the dmaroune grey aon, ameve te Sraning to tro rot She requires bate ardncing ad ruluphing the ba ines aeesdy Tranny 304 then proecting these dimcndiona pghores ashe conplcke te desning, Waar pee try 7 complete ore nase irajecbing the gad shone ee deanna’ blow. ‘To draw a long nein correct proportion 123 shorter ome, we can superimpose: Unite af the shaver line ever the longer one m an additive manner. With the technique, small orrore can accumulate and result in 2 Langer ‘grror ia bhe overall length oF 3 line. Ibis therefore necessary to continually check the overall measurement 22 we proceed to add units, lin contrasb to the previous additive approach, we can begn with 2 widle mesourement ard oubdivide ié mea a umber of equal parts. The advantage OF this method & that the larger relahonchizs are mambained oven 3 We divide them into omaller parts. “Thue, large grrore can be minimized. This 1 9 veetul aki m drawing 3 series oF ropobitive clemants, ¢rdinding an clement on 3 proportional hse, |ORGANIZING SHAPES As me vegn a dram, we face decison 36 Chow large te mage wil ba whore ib wil he potioned, 300 nat oneresbion Wil have Theat jidgmente ae made relate tote sey shape, sed cages oF tre eutace near draning on, We see Fave todetermine whet wee mclsed ed what mio fom what ne bee 0 Sera Tose esone wl fect e ay ne pereve the reestems fiero ‘pond Valatunehpo bekwech poorive Sid negstwe shapes, & 4 FIGURE+ GROUND RELATIONSHIPS When a figure floats, wolated 12 sea oF empty opace, ibe presence 10 empna- Sed) th type & figures around relationship 19 easy be see. The figure stando wt clearly 28 2 positive ahaye ‘againeb an empey, diffuse, shapeleos rackground. When 3 figure crowds ite veckarourd fld or overlaye other figures inike field, beans to organize the sunreurding spaces nto récoqnieable ohapes, A ore meracke and wear ated hqure-ground relabinship develops. oust wovoment ccuro between positive and negative shapes and the Resulting Pension createo visual interest,When figure and background both have positive shape qualivice, then the faure- ground relacionahip becomes ambiguous. intially, we may see certain shapes 20 figures: Then, mich a she in view oF yidorscandingy wemay s¢¢ what rmenly were background shapes 26 the posleive figures, i Thio ambiguous relationehip between posite and neqative shapes can be deairale at some tes and istracting 2¢ others, depending onthe purpose fra dean, Whatever ambiguity exets should be mbentiansl, rob sccidental.A SEARCH FOR PATTERN What we oce and draw often consisto oF a camplex composition oF lines and shape, There may exist net one but 3 whale sones OF inborrClated 90h oF hore ground patterns. How do we make sense oF Such a complex veual Feld? We see nee Individal shapes, but ratrer a patcorn oF relabionghips, According to the Geeealt theory oF perception, we tend to oimelity what weobe, organizing complex etimuli Into simpler, more holistic patterns. hia grouping can occur according be certain principles. * pa, = Seis may Ans iN » ea SIMILARITY — We bond to group things which have, some neval characeeristio in common, bush 39 3 omilarity of shape, aize, colar, anentation, or dota. aa a ae PROXIMITY We tend ke aroup those elements which are Close tanetier, to the exclveien oF thooe which are farther away. %x 4 « eis P| = = iQ) os) =), Ne tend te group elemenbo which ‘These perceptual tendencies lead ve continue along the same line or in tise ‘bo 502 the relationships vetneen the same direction, varius clemente of a\compooivion, these relationships form a relatively regular ahape-pattern, then they can orbanse 2 corglen compotion ita 2 perceptually simpler and mare comi- Prohensidte wide» The parle of Arouping thie hope promote the Gocxistence of unity, variety, and visual richness in 3 dranang, 6CLOSURE: 4 seaxcy rox staziuity Closure rekore to the bendensy for an Gen 2 pattorn of dete, vital nes apen or incomplete Figure to be acon 3 connect the paints in sich a way that a Pit were a dosed or complete and regular, obable shape reaulbo, these ‘tshle form. lines are similar to the ones that complete a regular shape even when Pot hat Shape ve adden the Incomplete figures tend oo comple Lremacives sceordig vo simply and regulary of form ‘There are situations where even a line doe not in fact exist, the mindie aye crestze the Ime in ar abtempe to reqularize 2 shape and make i6 woible, ‘These seen vub nonexistent lines are illusory and have no physical aero. We eee thom im visual areas which are completely hemogencous,One can interpret tae image, deneed by poycholegiet Joseph Jastrow ih 1900, co 4e either 2 duck ov a rabbi. 4 what doyou see mn thio mage # PROJECTION + 4 seaccu ror Meaning The grouping principles of eimilarity, proximity, conbinurty, and closure eperabe withovt regard for representational meaning. Thay aid us wp organizing even che mosh abovract of patterns. Since the rnind’s aye constantly searches for meaning in what we Sze, we aieg bend t2 group lines and shapes into Familiar images. Merely loking at 38 apparently amorphous vattern can sometimes bringlte a prepared, interested, and searching mind 2 more specitie mage. nite search for meaning, the minds peteinen nd pels ees Inthvsillusion deoigned by prycholeaiet Ea ponngin 1900 one canoe ether the profile of 2 young woman or the head of bn alder soinan. a 9 ee 2t fp: “Lomret. ree Bene tr Stuay which, altheugh /¢ may seem eral and ‘rovecrenet’s 9 varive inverttiong, 2 Crome, vob Wana thas is, when you lack 2t epg OO Ges a wall spotted wish Stains ‘nace I you may discover a resemblance to various landscapes, beavtified with mountains, rivers, rooks, trees. Or aggin you may se DATTLES and figures m action, OR STRANGE FACES AND COSTUMES and an endless variety of objects which you could reduce to complete and wall known forms, Axo tHese are: OF BELLS IN WHOSE JAN IMagine.” Leonardo da irc PEAS ON SICH WALLS CoNFUAEDLY, UKE THE SOUND “ou aay FD ani” NAME Of WoRO wou cHoDEE TO «hl sougee od lene of asatons Having what a front ot ego soy iy ind Pt jo re ar Eto sso” her | de oh 400; nd ay “Ya ean sore but by watching Boe ipso “the ” ag: Bors, 2000 only wat thé mind 16 prepared ‘to comprehend. Kopertsbn vavied.SHAPE AND SURFACE In addition to the contour lines which ane essentaal for te deimeation, » shape also 139 ourface qualicies of material, olor, and bextsore: In drawing, the may we oxprese cheve quaities Io thraugh the rendering of total valves. Those tonal valves, in ern can serve fo describe toxtires vey mod ard re, TONAL VALUES ‘he Ime techmiquen of hatching, croee- hatching, and atribeing are bre primary mmeane mn which we con render tonal rites, ige tral ave exprenned primariy Sheougn the velacve proper Glan of light fo dark areas, bre mooe important chargcseronics these Lelpmaves ore Bre apscing and density te frear strokes wedThe primary purpose of rendering tral valise to ty differentiate one shape ‘Seom another. rendering tones, the visual qualivies of tae strokes used = their longei, conbour, and direction — will inherently convey the nature oF 2 eur face's mavoral and vorturey Whether emosth or rough, hard or boke, poled or dull We should always be anare oF the nterrelabionship of fore and texture, Any rendering of texture simulbaneouely Produces 2 tonal value. Inmost careo, Dhue tonal value io wore ertical Shan texture to the represerteation of light, ehade, and the way they model form’ in space, 7%LIGHT AND SHADE In rendering tonal values, we ratural teed t consider iret the local valu oa form's surfaces, Lecal valves describe how hight oF dark a surtace’s material and calor actually are. Local Values, however, are modified by the ettect oF light, shade, and shadow, Inrenderig tonal values, we should Bttempt £6 communicate thie inter play oF lecal value, light, and shade. Contrasting tonal values convey the way light and chade. model fore, The cftects of light on form cannot exist imthavt the cantrastng, darker ylien o shaded surtacee and the onadowe they cat. Since me draw primarily with dark media on light surtaces, we define areze oF shade and shadow nan attempe to illommate. sreze oF igh,SHARP ¥5, ROUNDED conweRs The way ight 1 reflected From a form's surfaces, creating areze of hight, shade, and shadow, gives Us impertart clues to its tieee-dimensional qualities. Light, however, 1o nat statin Somebines Harel, sometimes diffuse, the quality of 3 light oauree ie reflected m the nay ilfominsece the form and porvades the apace through which we sce the form, How the edges sf 2 shape are rendered arrays naratare of 2 ome geomet Clearly delineated coneracte of valve imply sharp edgeo, abrupt tuene ab corners, and ‘Ae illumination of 3 bright, direct ligt, oradval tonal changes, on the gther hand, convey b0°> edges, gontly curving torre, and the llomimation of maireck lignt. Cy‘ALTER SOT VALUE PATTERNS: As we develop the tonal values & the. shapeo in3 drawing, ne murt be dandemned with thet overall pabern and composition. The organizational pattern of tonal values can clarity a Srawina's complenity, articulate tee shares, make ts figire-qraind elatonohipe wore vivid, and create 3 sense f space and depth, Thus, we ‘shold alnays develop a strategy “or the range, placement, and proportion o tonal valves in 3 daw ing VES FOR COMPOSING LIGHT, MEDIUM, AND DARK VALUES a Ibis important to note that we porcene tonal values and texvore relative to thew conto. aoe qualities oan be emphasized or dilvbed depending on the relative charachenabice of agacent surfacen For example, 3 igh ton direct contrast mith dark tonee will appear lighter than when contrasted mnie ighter cones. Amedium bocture wl appear coarse. when contrasted witht Bomasch ourface, but finer when next bois coarser textre. aHigh KEY MEDIUM KEY The range and pattern of tonal values influence the weight, valance, and harmony of 3 arawing’s compsation. Shang conbraste in Value vividly define and attract attention te oliapes mn opace, and create 2 eense of drama. A broad range oF tonal values, with wbormediabe Vallee provising 2 transition from the. lightcet to the darkest, are visually ache and animated. Closely related Values tend to be more quiet. Law KEY The relative proportion of lah aad dark valuze and their placement im a compooition provide a tonal key for 3 draining. A medium range oF valves be an inherent fecling of harmony and Valance. A predeminaney ight range of valuce can convey delicacy, elegance, and 3 sense of illuminating ight. A moderately dark valve range co” ave 2 dramng,'a senee oP heaviness Prom Bhove, 2 teelg of ebabiity and abrength from below, av perhaps 3 pervseive, somber quality. EySHAPE AS IMAGE A shape w a oualy percewed area bound hy lines or edgee oF conbrast, AS on iinage, shape wo oven relative te the space surrounding b and Wentified by te contours and the pattern of 2 structural featuree, “The nate of these rateerne and conbaurs ¥ the key to our understanding of what ohapee represent na drawing. In drawing the contours of what we sec, we emphasize She nabural appearance of 2B particular thing from a epecitic pont oF om, the contour ines define naburslio- tie shaes. Whether a naturalistic shape: conveys What Ib io supposed 2, however, depends on one’s point oF view Some nsburaliobe shapes reaure Shading, clon, and ventore il out frair fat and vendor them recog” mahi Qiere are tccaatul st representing ony'a claes or category 2 tanga. Sail Shere communiesee Frew oppoitic deny ante easily mibhovt content,ABST! ln order to communicate more ettectve- Iyyme ean abstract macwaiohe ehores it drawing ie an abacraction oF reality. In the procese oF abstraction, we amie by chawe or circumstance cortsin Unnecessary details, and we retain arly these cacontial charackerisbice or structural Features oF a thing Which dretinguieh & from other thinge. There are, of course, varying degree of abobraction. ACT SHAPES, 2y exaggerstion, we can emphasize tye oF tore features of 3 thnng. Tie eiverste dietortion can aieolead co esl.ang shoves of chinge by romening rcewved detcwenciee in what we oe. Mor we conaistently spp distortion ar otagerabon oor oh one drown, wre alice 3 compoottion oF sho while-robainny ine poteral aparece W the sonce water.SHAPES AS SYMBOLS: “he ohape of an obyect 19 necessarily altered or tranotermed by viewing dio tance and angle This may simply be 3 Ghange in 6122 ar a more complex brans- forvriotion of farm relationships. We con nevertheless entity things even when the parbcular mages we o2e shift and mrave in our perception, This phenomenor, known as shape constancy, onavies vs to araop the structural feztures of some Shing respective of hot may appear inrealiy. Shape constancy provides the basis for aur vee of shaves 26 symbols, In develop ing symbole, we distill From ahiFeing visual evento these ivanable sepeces which are meaningful £9 vs, and which distinguieh one thing From another. Symbsle are therefore persistent shapes which are based on significant convoure and structural features. beRepresentational eymbolo are simplified pictures of what they represent. “o he Freaninatul, they must be generalized Job embody’ the Seructurd) features a What they refer to. Highly absbrace shapes, on the other hard, can be very broad th application, but vevally need 2 context or captions to Fully explain their mearing, When aymbols became mere abstract and lose any neual connection bo what refer, they become signe. S4ne refer to 3 thing or idea wighout reflecting any 9 le» vival charac tenistice, They can be understood only iy common agreement or coivention, 7SHAPES As VISU! Besidee representing whab me 9ce or cryin, 3 shave ca alo cast 3 the Underlying regulating Framework for 3 composition. tho ines wach debe 9n organizing shape are nob necessarily seen. gopenzing shay express the rol L CONCEPTS Neer Wary Caseatt hon used to oxress seructure, shape tonto lobe geonobrcsly sme eblor than compl he we poke the ore Ing ohpsrenynitale doo te rave Weedon tbe ere cary defied dhagvea wuch comproe an mayer The tative Oo oanaing sage aftgte bur perception of 3 drawing omy, 2rd scrince hthor nd eal sel or comple reget or regs ar, Stabe or dyntmiceWhen droning what we oe, 2 number oF cempositieral prosibiities may exist. To evaluste theae, we determine those aepects which abbrack our attention. These form 3 s0¢ of visible rlamionahips and the pattern of these visual forces, inturn, defines shapes. We should examine these relationships ard the compositional poosiilicies in beems oF these ehapes. Even when rang what we enioion, We can vse shape in tris manner 40 organize aur thoughts ard structure poosi- bites.DEPTH THE ART OF TLLUSIO? When we drow, ne ablomet to transcribe ‘aspects of tarea-dimensional realty orto 2 Fist sortace which hae ony two Omenoions ‘The resulting plotoral ages can be ambaueus or whatever Space and depn we read in 4 drawing vo ilosory. Certain arrangemento oF lines, shapes, valiee, and textures, however, have’ the potential oF conveying the epatia array oF oid forms mn opacb. fall depends an tow ove woual eyotem interprets the Grown image, n drier #0 convoy threes dimensional forme in space and depth in ar grommae, we moet master te!arb aDEPTH We ive ma taree- mensional word of dhecbe ard space. Dnects occupy deFne the mite ob td qve form zo epee Space, on te sonar rand, eurroundo 2rd sthcilaves oor nein of pects. How con wre vepresere the trree-dmensione oF testy wich tro-dmmeneional orawinge F Insceing apace, we read the relation- ships Vetween farms m pace, in drawing these opstial perceptions, Wwe areate pictorial space, Pictorial apace may be fat, deze, or ambiguove, bob in all cases, thio illusory. itensts ana tno-dimensional eurtace, But hore are fundamental techniques which Srigger aur visual system ‘to read st ve tte 20 nang depth tre rd dimension. These techniques ate based on ovr reeponge £2 coréain visual patterns Hines, shapes, valveo, and rextures, Setarsbanding Sst belies ne gan make an age oppear to reece feeward tonard the viewer, recede Ineo apace. We-can wake 9 term apgeae Habottoumetne, We con cotanish bie opal relbbionenips betmeen fordVISUAL DEPTH CH SIZE An interesting perceptual phenomenon 'p our ability t2 igrave apparent differ ences n acbual size in order to entity ‘and eatogoriae things. The phename= hon, known 98 size dr ohyect constancy, leade us to percewe categories oF strech 3¢ un torm n sag mitnconsbante Color and texture, reqardicss oF where and how distant Shey are. Two identical dbyects, both equidistant from vs, mil apeear #8 be the same size. AAs one maveo. away From vs, 1 wall appear ba dmmmigh in size. This Spparene change im oize provides us mith3 visual clue bo depen. When we ace ouo denbical for lke mages of differing sizes, she larger one mil appear bo ve closer and the omaller one farther anay. ”OVERLAPPING Two overlapyne shapes create an ilusion a depth emce ne cord to o00 one shape 28 bong in Front of, ard concealing rom our ven, 2 part. of another behind ve, By teeek, overlapping creates very shallow ‘spaces, A greater sense of mibervoning apace and depth can be achieved whor clerlapping to combined mith other depth Guee euch 36 pata edges, otto texture or value, and continuity f line, oFVERTICAL LOCATION Imagine standing on 2 Fiah piece of around, Ae tk recedes mto the Astance, the qround plane appears to more venard tonard the horizons Ohecto on the grourd wil algo ocem to move upward 39 they got farther away. Therefore, iF we Want something #2 be read a6 distant, ne can move i up m the drawing composition. C ee Cheng The higher something 16 i the mcture lanes the farther deay 1 will Spear De’ We can brse create 2 stacked sence of images ninch, witon coined atte bla caterers ard ar iapping, conveys avid sence of opice bed depth, 5AERIAL PERSPECTIVE Aerial peropective w based on the: softening quality of the mtervenmg aie or Bhmosphere between viewer and shyect, which aFfecte how we perceive the calor, values, and contours of distant “hinge. As things get farther away, thar colors become lass intense and more muted Their valves become labter and grayer, their forme more diffuse and biuery, thew details lave distinct, Inte backgrounds we ace marly shape ith grayed tanee and hues. By contrast, things seen vp close, in tre Foreground ot air vioon, have more saturated color, Stemgor value conbraete, mare distinct outlines, ard sharply dehned detail.sa gas a —< EXTURE As a surtace texture recedes into the For example, when we view a brick wall distance, there will ve a gradual up close, we canoce bath the maividual tnorease im the density of the texture. ricke and the thickness of the Thee 2 result of bre dimmmiohing oe mortar joint. As we move away, the 39.woll 20 the pacing of the elements bricks become amaller and the morbar which create the texture we o¢0. pints turn into limes until, From a distance, they merge into's textured pattern,tomund nen the Seem pore to describe pictorisl ewe dimensional world, While useful in drawing Indwidusl sects, Imear perapective ve particularly adept 2 illustrating apatial pective 16 pobably what comes ote 19 Used aur three Felationshis m2 pctoral manner whch an be ready understord, When combed with the nsval depth clues preneusly discussed, Imear perepeche qos vs the Dbilty to create 2 wd illuson af three dimensional forms, space, and depeh on 2 Hat drawing eurFace, EAR PERSPECTIVE WA] SKA | (, geomelny Becavoe oF tro presien con facie mete nich ne veo oped based on theos lana, 2 poropec- five deowngie often ovslated aby oh the conredsroee of ibe construction, He shovid, hoover, also use our eyes ri not entrust tho dra image t9 method of constriction. Linear perepective 16 based on the, laws oF Loeb because 2 peropechie vnebiculovely conebructed doce net tnean that the drawing ayprpeistoly Bnd accurately llostranee one's pont oF new withoct distortion. The ween fore 1 noe co detail the mechanical constriction of porepoctves, We ‘abhor fe develop sn onderet nding oF Perepecto clemert’s and principles ‘rach will enable vo to draw feohand poropectiven 6/ Understanding perepectve 16 nok J, aboolately cooentialin drawing what / we are ave ‘o see, We can inesead rely ‘on the aczurave depiction of contour imee aad tte goortve and negate: shopee they Aches Honcver in orlor 2 tranotorm these lines and shapee, deacribe hiv ee forme, and locate them in space, we. Should ondevetarls the blomdves’ an principles of near perspective. This 16 particularly important ne want ogo beyond external appearances and Dnderoband te underlying omer and abractare of thinge, a6 cohined by fe Inco winch deserbe'and reqate thor reistionahipo m opaco,As to vamo mics near porgpecbe e 2. ‘concerned primarily with the draning oF ines mpernpecte, Man of taege poropective Ines do not represent vesile- Contours bub rather desonte the sbrvc- re and geometry oF thees- dimensional forme ana their locations mn opacen Thus, the ilustrations wn thio eection ublize. ‘tho familiar geometry of the cube a5 4 bane for describing three-dmenownal forms. With the cue, we can measure the three: Ni dimensions of thingo simuleancously, More ; describe 3 varieky af forme, From ther smpleat ta the most complex, The reduction of forme to Gheir component geometnes and the measurement oF proportion, 2cale, and rolahionahipe in space require both analyacal and visual ough. Importantly, we can use the cube be TtTHE ELEMENTS OF PERSPECTIVE: CONE OF VISION For al ot to apparently dame alien, Pperapectes Weaning 8 anion atsbe Imager fed whee and veoh from a opesitic point of view: Once we fix our Teper, Shon 3 normal hed of von petcndo tke 3 cane Padiahngolbward from the eye, Thie cone oF vigion coneiets lines of sight miich form a 1b° be 20° Sale mith He contra ana of vis, The cone of won should serve 26-3 ude nen we determine ovr venom Bnd notated tin te iourdaries fo perapectue drawing. Srivaanall eater of the mmeatbe Greground fala whi the core 2 raion. oie reaches out to wslnerim what ne bec, 6 méons ce Feld, and the mmidileqround and background become rove onparave toa Le ‘fp the observer’ central Ine oF aight, petra neces) Baa porpendclar |) PICTURE PLANE (ee) When we draw a perepective, ne transfor conto 3 drawing surface whist we sco ‘through an imaginary, transparent poture. pianes the drawing Surtace becomes the eauwalent of the prcture plana Tris picture plane cube through the cone oF vision and aluays remains perpendicular to ovr central line of sight. Thus, we ShiFt our line of sight leFe or right, up or down, tHe pture plane moves wth i GROUND PLANE (c2) ‘The ground yjane ve 3 horizontal plane oF reference from which heignts in peropec- five can be meaoured. Ie can be the groind on which the newer stands, the Lbke eurface on which a beat ie sailing, ‘he plattorm on which 2 building reeks, It can also be tae Fioor plane when raving auinterion epacey or oven the tap of a tile when drawing 6 sbil life. Gis tabletop ioeGarena View from 2 obeth floor window View from a standing postion HORIZON LINE (#1) The homzon line rune horizontally across the picture Plane. and corresponds to the mener’ ae let! alae the around ann For a armal eye-level erovectivey {re orzo ine ta tre see hoe oF the observer's ayes. ie moves down ne ot down na chairs Ib moveo up if we lade ovk From 3 aecond story mindews tb rises stil further if the views Fram 3 mountaintop Even not actually seen, the horizon line should be drai lity aerase the draning surface to serve 26 a level line of roterence fr the entire composition ‘Any hor artal plano which les 92 ovr aye level will be agen as 2 line comciding with the horizon linen We mil see the tops of horizortel planes which he below the horem line and the under sudee of those which are above. 109Comergence 19 the prmary distinguishing Gharactonsine of near peropectven Ae tno poral! Ines recede inca the distance, the Space vetnecn them mill diminioh and Chey Wil appear to converge. the mee are extended to nfiity, hey wil appear fo mech 2 whats io cammanly termed 8 Vanishing poi. ~~ ach oot of parallel lines hae ite oun varithing pant. CONVERGENCE “The firot principle of convergence w cach bet of parallel lines habs cw varining nk hoct of gall Ince cmaits erly OF tro0e linee that are parallel to one another. We lek 3b bite, for exorile, ne can see that ibe edges form three ‘0b0 of parallel linco-— one vertical sob ‘and two horizontal oot, Gy Planes parallel to picture plane retam their shape bot dimimiot Insize 29 they recede from ioe roan) tie TT nee parle 0 line sight LINES PARALLEL To PICTURE PLANE LINES PERPENDICULAR 70 PICTURE PLANE, IF perl tote pctare plane and Fr an0t of parallel ince perpendcalae pecpebelr he tna carta! tke pone ne and techs pre ine of oaie, » ace pralel ines milnee. mb dhe peorror's cartral ne of aah, appear fa convcige inseené, ml orain Tes verona pont mil onde wi te Borentston, whether heraentsl, fone nbere the central ine ob get rated artlod each Imrhncin, [eet the foray Th ponte vnilvan apparent long sécordmg'% Brown 26 Ske contor of rem, edlatance bom the reneeWe must alway be aware of how many sete of paral lines actualy exist in wnat We sre drawing, how each velabes to the peture plane, ‘and where each will appear 7 convotge. wet wea | Tiana pnt fr seta of antontal irs Ines he bmenere on the horizon ea downward 22 ‘they recede, LINES OBLIQUE To PICTURE PLANE, IF a seb 19 oblique to the picture pane, its parallel lines wil appear t0 converge, foward 3 common vanishing pot. 25 thay recede, it the set 6 harieontl, ibe vanohing pom will le eomeninere on the horizon ine either to the lets or to the ait, deponaing on the direction oF the seh doit recedes from the viewer bo ( Is ‘vamohing ponte \ for lines, eloring = lnclned obrect IE the oct nseo wpward 20 recedes from the viener, then ies vanishing amt wil be above the horizon line, directly above where te would converge iP were level, the sob slopee downward 30 1 recedes, Yhen v6 vaniohing paint wil ie below the Farizon lite, directly below where would converge te were level.fctter etinguiching charactor ot near peropectve te fercohortening., which retero te the apparent cearge in fore an object undergoco in perepectives Ibi uovaly seen 29 2 contraction n size, length, oF devth oo that an illusion of projection er extension tn 87aze i o- Gained. Three factors affect the dearee & forestortening we see in peropecee FORESHORTENING 4 Genter of neton: == RELATIONSHIP TO CENTER, oF VISION First, the closer and more parallel a line or plane 1 +0 our center of vision, the [eos we ui 9¢0 oF tbo lengch oF surface and the more compreosed will be be apparent depth, DISTANCE FROM VIEWER Second, the farther away a le, or ane is, tie leoe we will see oF te fength ourface ‘and the shorter or fatter ib mill appear to be.XX B x Third, the more a line or plane to vatated anay from ve ard the poture plane, the leo we will o2e of tte length br eoPface, ROTATION In addibion, to be, effect on the apparent, form of Ince or planee, hartoning can leo compres’ ppatial relationshipe in a porapeo- ive drawing, 07TYPES OF LINEAR PERSPECTIVE The cdgoo of cube form three sete oF arailel line® — one. verbical and tne irizontal. Each oeb ae ibe own vanioh- tng vont it perepoctive. Ba9ed on these tires mayer sere of ince and tae ruleo of convergence, we can say there are three hypes oF near porapoctrer $-, 2, 22 fe perorechres Wat dis Engushes 0. simply aur porn A how he adn vaiiee doce be change, vot ovr view af ib and how the sets oF faralel nes wil appear 2 converge, 1-POINT IF we view a cube with our central line oF exght perpendicular to one oF ite facee, the vertical and emzontal Ineo which are parallel with the picture plane remain vertical and horizontal, These feraontl ines which gre vara bh the central line of aight wil appear to converge at the center oF vision, Thie We the one pant referred tom 4- point porepectves 2-POINT IF we ohifb our view 20 that the same cube 16 viewed, oFiquely bute keep our central line oF sight horizontal, the vertical Ineo mil roman vertical. The- two sete of horizontal lines, however, are,ron dblique to the petuke. plane and will appear to converge, one oot fo the left and the other 12 the right. ‘These are the two pants referres ton 2- pant peropective.5° POIN ewe tile the cube off the around plane, orif we onife our cerbral line of sight te look down of vp ab tho cube, then all three sebe of parallel lines will ve ohique 0 the'pcture lane and appear ‘0 converge a¢'taree different vaniching panics. Theos are the three pores referred ton 3- pot perepectiven Nobo thab theee yerepective views do not imply that there are ony one, tno, or these vamehing points in a yer ‘spective, The actual number of vanigh- ing pote will depend on ave pave of view and haw many ecto of parallel linee actualy exist. m what We see oF ennoion,VT PERSPECTIVE Hey, on In 1: pont perepective, we view one face ta Sndhareck cope giraighe on. We Gan theretore begin by drawing that cc a6° 9qsare, NO, we drow a horizontal line through'ehe square and across the sheet, This horizon line Fepresente the eye lel of the viewer. Agung the fade ne ae leokng at 6 10 feet equare and our eye level 5 feck spove the around plane, tre horizon line would cut across the middle of the square. Establioh the center of vision on te horizon line and draw lines From che, centor of nsion through cach corner oF the equare, These represent the hori- zontal edges of the cube which are parslle\ 2 ove central line oF sight and which converge ab tne conter of vigion. If the cenzer oF viewn le located 40 the loft oF center, then more of the right side oF the cuber will be geen; 1 moved G0 the right, more of the'leFt wil ve seen, = Noxt comes an important atop How tar back the roar face of the cube ? nother words, how fgreshortonca are the top, bottom, and oiden oF the cube? It depends on how far away we Bre From the cue, The closer we are, ‘ihe more we will ce of Uke top, vattom, and ¢ides, The farther" away we are, the flatter the bop, patton, ard sides will appear. A veckul gicthed for estimating thio degree of toreshortoning 10 based on the 45° right Sriangie. From geometry, we know that the eldee of a 45°? right briangle are equal. we can draw 1m porepective, we diagonal will mark aFF equal segments oF pervendicular lines. ‘DR Diagonal vaniohing ponte ApeBe ra The hho enon ne grove tthe ground plate and tee position of the centbr of voion acto the poropestive eftech, ipHs fio dort SF bere eee ee Porexample, agsume we are obsnding 20 feet away fram the front face oF the cube, Eatablish, ab the same scale 38 the original square, a point on the horizon lic. which 1 alee 20 fect to the right of the conter oF isin. The 1p the vanishing point for all 46° diaaonge receding tthe mah, rom tho lett ond of the square’s baseline, draw a lime %o the diagonal vaniohing Point, This line will cut oF a seamenty of the right-tand baseline which 12 equal be ‘the front. waeeline, ast rignt beangle. Note that # the diagonal vanohvag point io moved tawara the vonvor ot thsion, thie 6 equivalent to moving Closer’ to the cube, and mare oF the Gube’s receding plane> will be seen. Ik. 19 moved away From the conker oF vision, we have aloo moved farther away From che cube and one cube’s receding planes mil be more. Foreshortened 10% depth from to" away 10" depen From 30 away Once ve have one cure. drawm in Perspective, we can extend ibe geometry Up and down, forward and back, and to the sides, 12-POINT PERSPECTIVE ue lete POINT 1 POINT fara ® When we rovate the cube seen in t-point erapeckve the tao oko of honzonia nes are both oblique to the picbure: lane. Ore act mil appear to converge ‘the left, the other ta the righ. Thus we have two vaniehing points on the horizon line. Since the vertical 2re parallel to the picture plane, they remain vertical m perapective, lvsbrabed above 1 2 series of peropective views in which 9 cube fetates about 2 frnard verbs eg, rom right, 2 tpoint peregectie view 19 followed by 2 sequente oF Z-panb perspective news, The cube finally rotates back to where ike front face 19 parallel to the picture plane. it 19 thus seen in t-paint Poropectwe, Forte pongo of keling a 2:pane yeropective view, We can vuild on ovr Familiarity wich a 1:porepeobive. ouken We mvsb tinet underotand that a ‘square can ve rotated ab any angle 3nd be inscribed within 4 larger Square, 36 shown above, in each case, robe that the mecribed square touches the larger square ab pomncs equally distant from 2ach conten,up sah wag oe xe eight oe as 7 , Note that the side oF the macriked eatin 5 square 19 alwaye shorter han LEE the side of the larger square. 5 Using the equare base, plane of a cure drayin in Lepowe perspective, we can mark oft the diecance A trom both ‘endo oF the Front vaseline. Next, draw lineo From pointe 1 and 2. to the center of Vision. Then draw a diagonal. Wnere te diagonal cute acroos the, lines from 4 and 2, draw horizontal lunes, We have row located the four Gornere of the nocribed equare 26 Seon in perspective, ‘the ratio between diseances A and B will determine the size of Che Ineoribed equare and how much it ie robated. The diagram velow illustrates thie relationship between the angle oF rotation and the oize of the mecribed equare. Asoume the lepont perepeckve cule ve 10 Feet high bind the horizon line w 5 test above the arvund plane, We can extend the inecnbed oquare upward to any deawred height by vsing the verticale of the 10-foot cube ae measuring lines, ie+ Looking op ab cube. cubes drawn beyond the circle’s circumference are subject to distortion. : Homzon inte Ipveupetl to vecome comfortsle: and fivent in drawing cubes from 2 number a newpomte and ab variov> scales binek esas can foe 262 eval vide for keeping coves in prover forspective, The, large orble’ repre Sento the cone oF sion; the circle’s diarheter 19 the herizen line from one. vanishing pane te the oohen The following are enrors to ve avoided when drawing a cube in perepecte. «Lack of convergence * convergence & RS too acube onsale] tilted ton ln the lower kal of the cirsle, the pants represent where the leading badges of tubes meet the ground plane. Note that ae the ponte get closer to ‘the horizon line — a6 they recede into the distance — the angle defined by the receding baselines acto Flatten, As the points approach the circle’s ‘circumference, the angle approaches, bub ie never Ieee than, ninety degrees. 7Honzon line wextend cube et vorbically, simply dd multiples A rertical— { edges ° Ao in wnt penspeceve, we con re shoncty oF 9 Zope perepectwe cule to'torm 3 three Gimansional apd 15:POINT PERSPECTIVE I we look wp or down ab the culve seen 1" 2-point perspective, our central lite of aight io na longer horizontal and ‘the poture plané 6 ro longer vertical. Tre vertical edges of the Cube are now oblique 40 the picture plane and inusr therefore appear to converge. IF we lack upward, the vertical edges will appear be converge 26 2 pont, above ‘the herizon line. The same. edges will converge. at 3 pomt below the horizon if we look downward, Ne can use the bree pointe oF a tnangle 26 the vanishing pownt for 2 cube, in B- point poropecbive, One, side of the thanale 9 horizontal and connects the left and right vanishing pointes for horizontal lines. The third vanishing point for vertical lince 16 located aVove or below, derending on our pont oF view. Using, an equilateral trangle assumes the acco f te cue are 3 cal angles to the pcbure plane, Extending the vanishing point for vertical line ay fom the horizontal ere nt of new and the peropectve Dhect, . TleBe (Diagonal vanishing powt) We begin to dran 2 2:point perapectwe new of a cabe Selecting a point A close £6 the ceritor & the equtabetal Eriangle, Flom the pom, draw lines to the three Yanishing pores, ice we establion one edge oF the dive, lengeh AB, we can complete fy vena diagonsla, ‘he vanishing poirba tor these diagonal ie midway bebcen the three major vanhing poitee ewe rotate thie page tbo degrees, we can ace a hice 3: pon’ peropecbive OF the vame cube, but in thie Me Gave, We arb looking up 26 ib. Vanishing point for verticalex_2) 17PERSPECTIVE MEASUREMENT Because of the effects of dimniohing 4 12, convergence, and foreshortening, megouremente i perepectwve cannot ail be drawn 2b the eame ocalen Bub ‘hore are methede for determinin the relative math, height, and devth of forme and apaces when Scen in linear perepective, Hortzan ine ~ MEASURING HEIGHT AND WIDTH Vertical and horizontal Ines which are, (irl oe mczre pang canbe Jed measure height and midth anywhere within the depth of 2 peropective, Since the height of THE observer's eye level above the ground plane romaine conotant, ary vertical Ine from the arvund plane to he henzn Ine repre- Santo the oame dimension and can be divided into the eame number of units, This vertical scale can be extended upward or downward 26 needed to meseure the height oF any clement tn poropective. Ary vertical scale can 389 ve rotated 90°in 2 plane parallel {a the picture plane ta ‘orm a horizontal ecale to megeure the width of peropective elements. WeHorton toy Parallel nce by definition remain eauidistane bu appear to converge 2° . they recede im poropectives Two yarallel 4 y lince can there Fore’ be used to branater 8 a yrtal n honzntal waanurement into the depth of a poropectie, Wea Suremeres made tro manrer can fe shifted vertically o¢ horizontally 36 long 36 they rewrizin ma plane parallel to the picture plane. 119MEASURING DEPTH To measure. depth in peropectve requires ‘dgmens wich bebed dine dbecre vation ard nourished by experience. Once ‘an intial depth judgment % made, then succeeding depen judgmento must ke made m proportiar to the fret. Yooualize the face of ‘the rotating cube 3 2 eminging door, ~ IF ne rotate 4 cute 0 that we see mare ofthe righ face, the lef van- Ishing pow mil move closer to our center oF neion and the mah vanishing pomé will move farther anay. The more frontal 2 face, the lone forookartoncd 1 wil be; the more dblaue 2 face ig, the more compressed 16 mil ke in dovth, ‘these drawnge pronde vovsl guidelines for judging the ohape- Bnd proportion of oquare planes im peropectiven(Each ume we halve the distance { From the ground plane to the horizon, we double the perapectwe a rs | s a Thus drawing illustrates how derth While. Ue technique ve shown im 3 judgmonto dan be made by subdiding, spam porepectile, econ ve applied ‘md proportional vaste, the heghe ”” aswell bo Zi pont perapectven OF the Horizon line above. the ground Plane. I seeumee 9 2-fooe hegre for Uke horizon ine and 2 viewing diokance oF 20 teob, 105 iatDIAGONAL LINES with diagonal, we are able be conveniently subdivide or exvend depth jagmento m 3 Peropecte, For exam, iF we draw wo Aiagonslo serge 2 rectangular plane in perapective, they will bereeck at the plane's center Lines drawn through the Inidpoint, parallel to tre edges of the plane, will subdivide the rectangle mto ‘our equal parce, This procedure can be. repeated % oubdivide 2 rectangle into Bry even rumiker oF equal parte, ‘prectanale ca ago be subdued by first diviaing the fornard vertical edge into the desired number oF parte, Prom ‘theoe pointe, draw ines wich are parallel to the bop ard bottom edgeo and which ‘therctore converge 3¢ the same poi, Then draw 3 diagonal, Where the disgoral cuts aorvse the receding horizontal lines, dean vertical Imes. these mark oft the desired number of spaces, which iminoh 439 they recede in perspec, az‘To extend and duplicate the depth ot a Plane m perepective, dram a diagonal from thd top oF the forward vertical edge tarough the midpaine of the rear vorbical and down bo meek the receding base line Ab thie pomt, draw another verbal. the éiscance from. the first #0 the second vorbical 16 then equal 40 the ‘space between the second ond the third, These procedurce work cavaly well for both vertical and horizontal planes, and can We repeated 36 many time> 25 necessary to arnve a the desired number of spaces. wet _S Draw i rblation to exiting yarallel DIST In drawing a peropechwe, we shuld nob ve lnnited to'paince of view which reault invanshing ponte being on the draming surtace, We must alse be a¥le te draw rermpecbe ves where soto ara inee aprear to converge a distant vaniohing points, NT VANISHING POINTS Ewe have 2 rectangular plane already drawn in perspective, we can vee the kop and bobiem edgeo and the horizon line 39 vieval quideo te draw ancther parallel line which converges ab the Same vaniohing point. Firot mark whore the peropecte line bo be craw would érose a vor one oF the: rae ‘the obhor vera Gage reproduce. the come poporhonal distnee tothe harcore 90 the first. The peropectwe line should pase throbgh Shove tuo paineo fie ote converge abe vanehing poi ieWe can ales eotablish 2 series of equally spaced parallel limes which appear ce converge at 3 dlekant Yanehing paint, We do the by dividing Yorn vortcal edgeo Of the rockanqular perepectwe plane into The sore nner oF eqs part We can then draw lines through the corresponding pownbe on each vertical lime. these lines mil appear to con- verge at a common vanishing point, even it lee off the draming acct. iePERSPECTIVE GEOMETRY Once we are toemliar with ard confident: 4 mdraning perapecbve cubee, we can A use their rectilinear geomtry 26,2 vasi0 “ “ tor drawing verspectie news oF in 2° ne stesper the angle clined planes, circles, sttadows, and ‘the clined ine, Se farther reflections, 0 Bhote.or below. the horamn ’ Es vanishing port, INCLINED LINES, We can draw a single molined line i peropective if me are able to sec lc 20 She hypotenuse. the long aide oF a rignt Eriangle. By draming the vertical Fa horizontal sides st he right rare im proper perspective, We Sokabhoh tro ond’ ponte tor the: Inclined limes mapa ous SYRY view OF ownmius steeer NII When there area number of parallel Inclined lnc tt veel te know where ty appear to converge im Perorechve, Since inclined lines are hy definition nok horzonéal, their vanishing pont will nob fall onthe horizon line. IF the seb slopes downward 30 recedes from v4, ie mil apzear to converge Felow bao horizon line, I rioma Upmard 36 vb recedes, te vanishing port wil he Boove the horizon lines teTD detormine the vaniehing pont for an Inclined linoe and planes can ve seen inclined set of parallel lines, locabe a in abairwaye, the sloping rwete oF horizontal line which lize im the oame buildings, and tower, arid the rvad- vertical plane ae ane of the inclined waye of hilside towns. lines. Dan a vertical line from tae van lohing point tor the korzortal line. Then extend the incied line until meoks thio vertical Ine The marke the var- \ohing point for the incited line and all others parallel ta thin the eet. "7CIRCLES A circle m peropectve 1 seen 35 2 circle only when ib parallel $a the picture plane. Inall oer casee, when hhewed ih an obiyve manner, a circle > seen 26 2” ellitical shave, anger points) Lengeh mgr ano 1D draw a circle m perepeckue, trot draw the square which circumocrives the circle. Then draw the diagonale oF the square ané the lines that dvide the square into four smaller oquarce. Use thee lines to quide the draming of the dlliptical shape which represence the citle Im perepectine. Length of mar ane Tangent pont Note that just a6 the forward halt of 2 square in perapectve io greater than tao rear halt, sole the near halt oF 2 perspective circle fuller than the for hhalf Tave the mayer sue oF the ellip- bial shape ropreterting acre perepective we anaye sightly forward OF tee ebructural center: 7circles can We approximated with an geomebne forme we oce ~apnores, tio between the major Gylinders, and cones and their for que Sires perspective The circle the basie for many of the Land minor axgo of tho ellie we an variays manifestations, from ovehy- Important indicator of the toreshort- day dyecte to the arched and vauite ening nooce, Be careful not bo OF buildings. exaggerate the longth of the minor 2x\e, which should appear to be porpendicslar to the plane of the Girdle. 108ARTIFICIAL LIGHT S0URCE Source of radial light raye SHADOWS. The shape of 2 shadow csob i perspec tive ie debermined wy three fackoro— the type and posttion of the light source, the ohape of the onect. casting the shadow, and tae form of the eurface receiving the ehadow. There are two types of light sovreca. The ‘un, because of ihe distance From ve, radiatee parallel light ray Artificial sources, boing closer to what they llumi- rate, omic radial git rayo. In both casca, ibis beeFul to neualize tie bearing direo= ‘on ob light ray 26 being the horizontal side of 2 right triangle, the edge cagting 2 ehadon 30 the vertical ede, and the- light ray ieeelt 20 the hypotenuse. Werbeal cashingJc LIGHT SOURCE IN FRONT OF VieWweR LIGHT SOURZE BEHIND VIEWER Up for bearing direction Tgnt Sance THE Bide or ewe | | | Light rayo parallel to pictire plane 3 S Se ge BE ss oF light rayo——~, “UR for ight rayon —S Teg pesena Anection fa ct of paral light rays 6 horizontal Ime and ite vanishing point moat therefore lie on the homzon Ine, The vanishing paint for the light raye themeelvee must lie above thio pomt for 2 eurce im fron of ve, oF below for 2 eource behind va wean Srcceon When the light source 19 to the aide and mite rays in 2 vertical plane parallel £9 the picture plane, the: light raye do rot converge, They remain poraliel and rosain thelr orientation in porapectwe. cc)Horizontal casting edge. SHADOWS Avertical edge canto a shadow on the around plane in the direction & the ight fay, ibe shadow therefore comerges 22 the eame vaniohing pant 9 the vearing Arection of the lghtray. A horizontal edge vo parallel with the areund plane and a0te 2 shadow parallel to woelt This shadow therefore converges at the same pat on tne horizon 36 the ca6ting edge boc ~ siresdy Claenca Ge Ire oral aoe. Plane water ifextended vader hase. IF the object beng refleched ve at some distance from the reflecting, surface, the perpendicular diekance trom each rant onthe onc the retechng Surtace should fet be reflected. then draw the dbyect’s reFlection 38 keke “he plane of the reFlecting urtace should appear to ho haltway vebwecn ‘the chyect avd ibe reflected mage.eS \ si Lawl a (OU Cee y Sexe ® ‘An understanding of linear peropective, ari the pororecive of ohsdows and Feflections, 1 useful only & itqoce beyond bang an exercise in geamebry. In order 0 reveal the depth of ove vision, tt must be integrated into a draming compa- sibion long with the slemento oF line, ‘shape, and tonal value, cdENVISIONING w DRAWING FROM IMAGINATION eD The mind's oye capatle of ap nner sion, which te nab iimibed te the here and now. Ib can form, manipulate, and transform mages bayend ‘bhe- normal bounds 2 time and space These images, however, are often vaque and clove, ard car esoily bve lost fo awareness. In drawing what we enneicn, We take advantage oF our ability to think m veual terme and give farm to our thoughts and ideas ‘These drawn images feed back ‘to the mind oye, further etimulate our imagination, and provide 3 dialque petnecn self 2d page br frbior expiration and dovlopment oF deze, Drawing mm imagination thus an instrument oF thought which enhances the creative process, 27ENVISIONING Our perception 6 nob limited to what ne Gan b20 mn the here and mow. images are often oummoned or appear spontaneously Inreopmoc oa senory perceron- something seen, touched, heard, tapted, oramelled. Even without any sorb oF Sensory stimulation, we have che mental fany of ere tecolected or imag: ined images, These images are proaucto oF an mner vision 20 50h Fhrougn the mind's eye They are creabione oF our Imagination, IMAGINATION “ To imagine 16 te form 2 mental mage PEOPLE, ouch ae 2 close friend or PLAGES, ouch a6 a childhood bedroom, oF eomething not present te the senses. relative, a TY newscaster, ora ‘the street where: y lve, or a econe Ezsily, almost effortlessly, you can characker From a novel, described im a book imagine oamething 20 c0on 20 #16 — ic sugqcoted to you. Ao you read these So words, you can eanily vievaiizes aTHINGS, auch 30 2 triangle oF equare, a balloon floating i the ar, of 2 grandfather's clock. KGTNITIES, 00h 96 riding a beycle, erong a baseball, or eng 3 sanamcn. EVENTS, puch a0 3 cule roratng vt 9208, 4 ball rolling down an incline, oF 3 bied taking OFF im Flight, CALLING ON VISUAL MEMORIES Imagination» butt on the visual meniorice oF pact perceptions. Thue the more ne hate seen and experienced ma meaningful way, the richer our stare oF voval images and the more fertile ovr imagination. Wits hindsight we can voualize memanee oF things, places, and.crento from the poet, With forooight, we are seo able. te lok forward mn time and Use our imagination te onvsion 3 ible fuure, Imagination there fare enable ue to have a ocnee of hnigtory 39 well 30 2 plan ‘or the future, It eotabliohes connections — vioval bridges between the pact, the present, and the future. 90We all have the alalty to imagine, to think inimages, and to foresee, In Fact, we vse this active many of ovr skill, Jur thought hae 2.20: of drauinge, evaluate the pattern OF neces ona chesepeard, or search for oistlighone the night ly. Tne power oF mage-making and the cre- ie and action ed 10 the valadle to al of ZA NSFORM 3] . EYL EXPLOR For gome, the images of the mind's aye tan ve vind, controlled, and manipulated, More often, however, Shey are hexy, brie, and ail to llueory. ‘Event vivid and clear, they an came te mind and vet 38 suddenly disappear. They can easily be lost in awareness and replaced by others in the stream oF comacioveness, unless capbored in 3 drawing. IMPROVISE ‘The dramng exercises on the Follownn eee at bee onl ios ta draw rain the imagination, Rortomber that the drawings you bse are rob Finished renderings, bub rabher graphic means £0 vieual thought,Through a series of draminge, progres ively TRANSFORM the mages on the left to the ones on the right. THINKING ON PAPER In draning, we converte a porcertion or 37 idea into linea on papers we make thought visible, Each intage, once drawn, becomes part of oor vous world ‘and takeo on a life oF bo own. Ib stande aparb from the creator and beaine to diract ibe own creation “Thore 16 an intrinsic reciprocity between ‘the mind and the act oF drawing. Images of though’ made. wnsible can be oeen and acted upon. They play back into the mind and conoe- Byerly org fort tortor dsr ston hey excite and free the mind 20 explore, devélog, and clarity the eae presented. In tis way, they forther Stimulate the magination. iaFROM THOUGHT TO IMAGE “The ack of drawing we a creative process oF sualization. Ip tranetorme a blank Sheek oF paper inéo-a visual image which Gan communicate, inform, meeruct, oF delight, The source af the image We raw may be nat we see in front oF un, 2 neual memory from yaot experience, or more typically, 2 combration oF both = a mariage 2 porception and imagination PERCEPTION: FROM THE CONCRETE To THE ABSTRACT abstraction, progressively SIMPLIFY these images, SD, Ww When transcribin prece of paper we hsve objeck images to what we eee onto 2 guide ve in ovr draming. We can vee Berices such 29 gride ard vieual sight Ing +0 measure drawn image. 1e accuracy of the We vevally stant with the concrete, ard in the process of drawing, we fend to abstract the perceived mage ‘and emphasize what 6 important to Ue. the drawing v9 thos 2 vieval map of how we see 3nd perceive what ie ‘Sugaificant, and what mereste ve Bb the troment, WzIMAGINATION: FROM THE ABSTRACT To THE CONCRETE IMPROVISE a sequence of drawings bse ed on the mages in the first frames, tc sy When ne attomps to transcribe, what ne envision, we have to rely on the nchuree in our head, 26 o¢en through ie minds eye, £0 generate the drawn image, The act’ oF drawing cannot, be a one-way, linear proces. There must be an actne interplay bebneen occing, imagining, drawing, and aecing anew. In this case, we generally proceed Form the abotrate v0 the boncrete. Me otart with 3 concopeialcongtract af wnat. ne-enviown, drawing the significant structural features 22 defined by lines and ehapee. This visual Framework can then be filled out with matter, form, and detailo. we7 ] ‘SEARCH for pattern and meaning 20 you modify and complete these images. LN. | CREATE the tlusion of depth and movement ma drawing soquence which relatee each pair images oe XPLORE? dramng allows us not only to represent In these exercises, explore the preconceptions ub aloo to explore new —inboractive nabure of drawing. Be poosibilitica, Ao we draws each line hae open to the possibilities ie preecnte the potential of clarifying, altering, 0 you search for pattern, manipulate aradding depth to the meaning of sbructure, and create Che illusion oF the image. depth and movement,DRAWING VIEWPOIN' In exploratory drawing, we are able te The fallowng section diecueses the 200 oF envision from a vancty of view mayer typos of viewpoint and the points, These alternative. ponte oF drawing conventien® to which they ew give ve flexibiliby im representing lead. aur vigual thouahte and perceptions. Each type differo, however, nite capac- iy tg facibate the development dea.2-DIMENSIONAL VIEV Orchagraphic nens portray bhe two-dimensional sopecto oF a three dimensional whole. Decsuse they offer fragmentary views of reality, they must beoten 20 2 series oF related views, No single orthographe view can adequately Communicate a three-dimenoional oeck- form oF the epace dehmed by an arrangement of sion forms, ee OT ORTHOGRAPHIC VIEW! Orthographic news ate abetract m the ‘sense that they do not match optical reality. Yb, they do have one savanzage over mare pictorial views, When repre ‘senting a plane parallel to the picture plane, orthographic vens are avle to ‘stow the plane's true shape and proper- tons, and can bo drawn to ecale, The makes orthographic drawings useful in Communicating accurate information for the production of designed onecto ard constructions, lo thie a hat or 3 doughnut? oa these three forms have identical ian views. ince orthographic. views do nob inherently convey depth i the hurd dimension, whatever depth they have must be implied tirough the use oF arapinc depen clues, euch 39 varying line weights and tonal values, In Bédihien, planes which ae curved or Oblique to tae picture plane are shown foroshortened or diotarted. Thie dis tortion w difficult to convey in a line draming, wich can lead ta ambiguity in the reading of an abject beve form.‘A two-dimenoional gd 3 useful dence for the layout and organization of ortho- ‘arapric Meno. Ie prondes a revéral bee pen which relationships oF shape and oie ean Pe explored. A and may consiet oF Lite, ines, ov ohapen, Dore are eubie reminder oF position. Linea represent the vertical and the horizontal, and regulate the epacing of ecmente, Shapes dehne areds and emphasize pace rather than position, a7«SE Ba, a 2G aH GS -" ate Warne Flan views reveal the tonsontal aspects apo are almost always aenal or plan Flan viewe present a conceptual field of form and spatial raations hips. none fom above, of action for horizontal forces and : movement, i \.. is ( Nea \ \ , J < t \ S i, Sh PLAN VIEWS 8 A plan view 1 2 iow looking down ‘The strength of pian viene we their 7 Na) = verheally from above, Wren viewing ability ta illustrate the horizontal rels- 6 IS ag Bemall ovech im thee manner, the image bionehips of what we eee erenvision, is ee ‘2 cammorly known 20.9 497 View. “These may Po relationships a Function, at form, intomor or exterior space, or oF & ss pores mbhass greavor wha inte 3} Way, plan views match ovr conceptual gs view 3 things and dioplay the field oF 2 Shs action for cur thoughts and ideas, i ax? abedef gh v7With buildings ond other conetructions which involve meerir opace mibhin an ‘enclosing form, the plan w 2 downward view of Ene interior after 2 horizontal plane hae been cut through the con- struction and the top part removed. In {nie tyye oF plan drawing, \¢ 6 important tocmphaoize in 3 graphic way what hae eon cut, and what can be ocen through orace beyond the plane of the plan cub. In any plan new, we see vertical planes simply a8 linea, Thus, there 16 ne inherent depth in the thind dimension. However, we can ubiize diFFerent Ine weights, a range oP tonal valuce, and shadows to convey the desired sense of depth.SECTION VIEWS A section view io similar to 2 pian view in that ib aloo valves 2 cub through what we are drawing. Inthe case, the Gb 92 vertical slice and the view 16 honzontal. seston pone require he sbi {obec benesth the surlace f tinge Section views are veetul in porbrayin the vertical and ono of the horizons dimensions oF a form's interior mate Fal, composibion, or aoscmbly. Bection® cut tarougn building and other con- structions with interior spaces can Bleo illustrate the vital relationships bebween forme and tre opces they ne \ Sectione through buildings reveal the vertical dimensions oF apace which plane lack, Section news of interior spacee Include interior elevations cen beyond the vertical plane of the cut, inorder to convey 2 Sense of depth, ible important tw emphaoize the materiale that are cut section and to distinguish these sections from wnat 19 seen beyond in elevation. ioLe WCW A CO SI Gross- sections refer to scctone cut A series of section views, taken in Ehrough the short dimension of things, Sequence, can often revesl changes vt walle longitudinal sections are cut Gomplex and iereqular forme better through the long dimension, Ineither than a single sechonal View case, tb 0 neceaoary to relate section dravinge to the pan view by indicating in the pian where the section cuts are made and im whab direction we are lacking, Taqe A simple line drawing of an elevation can be ambiguows without the vse. graph depth ‘lves, 2) ELEVATION VIEWS Anelevotion new io 3 honzontal rew iooxing 26 cometing trom tre oueoude, Zlevatiora theretore emphaaize the gxvorion vertical surfaces of akect- forme ond their sihoveeteo i space, Frontal views of vertical surfaces are closer to perceptual reality than either plan 9 secéimn viene, Yot Shey canoe Fepresen® the diminishing sce oF are thay recede frm Fe newer cn we draw on obect"s ourtaces in elevation, we must again rely on graphic exes to coney depth, camvature, oF obiiquences. While an elevation drawing can show the context of oyeck-forme and the Felationohipo vetween 3 number oF fegro mapsce, they don reveal any information above their interiors. Elevatione and oecblene, however, can be combined when drawing aymmcs- vical forms and conobructione, wea aude Prone Saige erations enable vet strate ennranmental settings, ad to kody fhe proportion nd composioon of bulaing ‘eaten. Ag we move around what we are vewin), We 8¢0.2 oerie0 of related elevational Views which cnarge 20 our position Changes These views can've lajcally related im 2 horizontal orice oF drawings, oF a single, composite drawing 30 they were untolded and laid ovt on 2 eingle plane. For clarity ard orientation, an clevstion drawing can ve labeled according to te eiationship to an assumed fron tace, ‘the compass direction it faces, or the context From which the elevation 16 een. 15° DIMENSION: Tarco-dimeneional views minimize the Besbraction of octoargpai vents and deal simultaneously mibm height, widen, and dope 2 single image. Trey are thorefore clover to ovr perceptual ren 2 reality. The two prncipal types ob three-dimenconal rene gee paraline and Perorectwo viens. Both of these can ve effectively laid out and compooed with 2 three dimensional gr, + PARALING EW s PERSPECTIVE VIEW NI L VIEWS ‘The cute w the basic form upon which wecan build a three-dimenewral arid. Iie useful eince bo edgeo and lance are parallel to the x,y, and Z coordinate gyotem. Ie can therefore ve voed 29 3 Unit of meaaurement bo acale height, width, and depth concurrently in any threes dimensional Vien A cube can ve subtracted from or 2dded on to. He can be subdwided or multiplied. in these ways, varieue derwabione and combinations of tite ‘ube can be qonerated and used to dcfine the geometry and structure OF mere complex forms and apaces,ATW JIN « The ve of t-ditersional vews lads to the developments & aynbols and diagrams, 9 © When drawing what we envieen, however, We tend to add depth Go ven the flabtcot representations, We can de this ezelly with yaralne drawings, PARALINE VIEWS Peraline views are pictorial newe which Gan communicate three dimenoioral forme and opatial relahionships. They can be dgtnauidhed frm rerepectves hy the following canventiona, Parallel mes remain parallel and do not converge 39 they don porepective. in addicin, \inee parallel to the x-,y-, and Z-axes are hormally not foreshortened and can he: araun to scale. Decavee of their scalability and lack of coniergonce, parsline new are mare easily drawn than perepectives and provide 3 quick methad tor rovalizing thingo m Saree emeneione, They aro particularly aperopriate for drawing ‘Srall-scale objeche omce their ferns, Gren mn porepective, do not exhib a hare degree of convergence of parle ince.PLAN opn:avE, OBLIQUE VIEWS. ‘Ae odiqye men i 9 paraline drawing which uses 3 honzovtsal of vertical surtace oF what ne are drawing 96 a bave plane. To Hlustrste thie, imagine 2 cubes We con take ite bottom face and draw tt 20 a ‘square, We can vorate thio equare at some angle te the horizontal, Next, we can gece erneal nc, aetance ogra to he ode oF the. cure from cach oF base square’s four cornera. Ther we can draw the top face of the cube at the Same size and orientation 20 the base aquare, We can aloo draw the front face of the cube 26 2 square, and thon proyect the top, bottom, and sides wack’ 2b some angle ta form an elevation oblique, If me vse drafting triangles, the angle for recedmg panee in an bblque View may 203 45% of 602 In akebohing, we note net be 38 precise, bub once’ we extablioh an angle, tien we ‘shoul vee it consio- tently, We ahold aleo remember that the angle we Use affects ow much We 222 of the receding planes, 1 | | | | .‘An oblique vow can combine the ortnagrapac viene & plan, section, ard dlevation oa single drawing. Prange Church a Weretkeheligen (me) athasar Neomane Hoighes 3 malta Obl Views are particvlarly veetul went deanina anobacs whi rao 2 complicated or curvilmear profile. The profile can Firat be drawn in an ortho- Graphic plan or eleration view, Then Ganbe extended or extruded into the ted dimension ty eimply drawing 2 series of parallel \neb. When drawing oblique views, dimenowns perpendicular 0 the tooe which are relate ong or dear can appear he exaggcrated. In ouch caces, 119 possibic to foraohorten ines mn that Aveectien, 26 long 28 all linea in Ghat directign are foreshorzened to the same degres, W7Oe Comparison & oblique and vwometnc views & a cuve TeOMETRIC ‘An isometric view 6 2 paraline dramng whore the primary X, yr, and Z-2x0% are cayally 120° deardée ‘apart on the picture plane, All hanzonbal and vertical Plance are praccted back ko the depth Of the draning. tb presente a alighbly lower angle, of vew than an oblique view ‘and tends nat to emphasize one plane. over andther, Hb anes a truer image of relative propertione and ve ride euhect ta the distortion inherent it oblique views. 2 draw an oomebric new of 3 cube, Firat. draw 2 vertical line equal to the height of the cube, Then draw lino from the top and bottom of the vertical These ehauld he at 3 0° angle from ‘the horizontal and be the ame | 49 the vertical. Complete the cube drawing linee which are parallel to the lines already drawn.SOOO SAAD Ly, CO LVR LE DSRNVTASAA SIEGES NEPA ANVERY . NA : \ Oe yk XY VAAAAA Ohhgves and womcercs are aot always zeral ‘tomb, From planot Senos hy Peer Berl, oo, A predeawn vomeere gid 6 voto for Jimensional eas. sxetching > ond Both womens and obliques can etfeckwely \llvebrate the aosembly and operation of designed object, per can also We vee iF the grid points are ston 26 reference. poinés for angled lines. P< a aa Looking down st cule. PERSPECTIVE VIEWS Peropechve views ave more illuebrative of how wo percewe realty thar either orthographic or paraline viows. They are higiy'pdioral aides for roprosbne: ing arehitectural-ecale forms and ‘paces But bacavee they con easily Ve Storia, oval edge based a cxporence te reqviree to pe porbesy ocale oad dopth, OY ime J __t E ——— I Fe geometry of the cul Filling the cube mith related geomeenc forme Jn drawing porepective views, we can aan veamlwibh she bao cue. Once Ne are ae bo draw aioe from yaroi9 viewpomrte m perepective, We can jonerate, cit geomotric solide — the cylinder, cone, and pyramid, These regular forms can be composed and organized in a numiver oF waye to form the obructural framework for more complex Forme. + Grouping cubes The ack oF drawing w bee only way te davlp ok okabahingcabes a the related forme they generate. fcr pace 9 tpe Begin iy tracing Che cobeo in te ‘lbetestone above, Also refer vack to the dicasain oF lear porspee ‘hee, pages 20-192. io(x \ \\\ io tot one Perepectve ande, sch 36th one, 7p \\\ “ sere glen he asst I etbonse ad mtersr persactve Te “er any ten vrong geben (AW pont of on ee career srallable, \"I Wher attempting to draw 2 freaform of irregular shape in peropective, we can first draw a regular gnd over the ohare. in an elevation or plan view. AFvor draning te ate grid m perpecive, we 2an branstor to to poropcobve grid the pointe Where the shape crosses the amd lines in the elevahon or plan von. Using those pate 20 2 guide, we can draw the ohspe in Peropective. wiBUILDING ON GEOMETRY iE we are able to brzak down what we-sce ar erweion into reqular geomernc sola, we at more casily dean them and study their relationships We can reorganize the forme wan 2ddivwe manrien, frane- form them in 3 oubiractre manner, The resulting acometre structure can then Serve 28.2 framework fr the develop mont and retmement of the forme and ‘Spaces we are desiring, Prawing normally hddon ies helps vo ota 3 sonoe of ructure and volume, tt would vo Aifuult to atudy the organization oF S-dimenevenal forme mith orthographe drawings alone, Far thie purpose, paraline. drawings are ideal. ADDITIVE FORMS A cube can We extended horeortally vertically 26 wel 39 to ae depth of a sraine oe perspeche enh cl Shoe becombs 2 tarae-dmensiona bat H measurement nich can fe veed 12 Yervcoare ond regulate 9 ramety deruabie compooitone,PLANE... can ve the formal elemento o hive, plane, and vlume to beainabrucburing the forme wo |znviton. WeFROM THE WHOLE 10 THE rarer SUBTRACTIVE FORMS Working From a simple, reqular form, we can selectively remove portions without loging the idenbity and sense oF the whale. In tivo aubbractwe process, we vee the ooid-vad relation Ship between form ard opace 36 the generating principle for nhab ne create,Lee yy ‘¢ STRUCTURE OF THE DRAWING SURFACE «PERSPECTIVE prRucTuRe COMPLEX FORMS When drawing 2 complex organization oF forme, me can work in both an additwe and 2 subtractive manner. The reoutt formal and opatisl composition o vevally anovtcome of structure, whether phys teal, wevally percened, oF conceptual. Inch process & secing atructure, we must firs create the organizing Frame Work before filing out and refining the mage. 4 PHYSICAL STRUCTURE, ioe© SPATIAL STRUCTUREREFINING THE IMAGE Once ne have the basic arrangement forms in eface, oF the ebruchure of 3 ‘space 26 defined by the forms, we can eain ta refine the image, Working from the general to the specitic, we can Peain todescrive qualties of form, apace, tentore, and light without losing 2 oense oF the whale, Ie 10 important to underatand that we need at re cmazrned with the, rendering of a photographic reality. Tnobeadne ohdid stomp crins- nicate opecihe qualitice of term ana space, and tae oFten meano tolerating 2 degree of incompleteness, “The very incompletences of a drawe Image acknowledges the viewero oF ‘thab image and invites them £0 participate in ie completion, Even bur perception ot aphical reality veually incomplete, being edited by the keowiedae We Bring to the act 2 accing and cbr momentary needs and concerne, ioVE S forrune aiorarrens / = oourd defines eter CONVEYING SPACE In draning viene oF an extenar or interior opace, We should absempb to ve the viewer a oenee of being in a lace with distinctive charactertice, lanever, hokore refining the parto — materil surface, color, and textures, and the quality of light — we must First: detine the farm, scale, and enclosure oF the epace. We should oeloce 3 vempoint which frameo the viow n ouch 2 way that suggento the viewer 16 within 3 space, riot merely on the eubeide: looking vn. Te do thie, wo should include ferearound clemonts — overhead, to tne aide, ar Immediately m Front of ve — through which or beyond Which We experience the space. Fea 4) \\ W Assuming 4) ice ine off sigh’ and 3:20" cont gf vipon, the ground plane P WAVWUES toot away lone af aightcan age a space mba ontiraby only it we hand cubed be houndanese SS seeing Daideo Ha space ening @ dee of a apace metrical views into a corner. hie vouslly advantageous if we can 960 three aiden of 3 97220, un those forme which define the opace on three siden. IF ne only 2ee two sides ‘meeting aba corner, the view could look like 2 stage ot and lack the feoling é enclosure which gee form 42 the epace, 7Contcaoting tara valves dekine Shapes and ‘oma’ re SEEING LIGH Light makes form nsibie by iluminating Surfaces and textures, But without the contract of shaded surfaces and cast shadows, would be difficult to see he effects af lignt on forme in ‘space. In drawing, therefore, the principal reasane for veing haht and dark valves are te enhance aur rer- Goption of form, differentiate one form from ansthen, articulate epatial relationships, and to convey 3 sense oF depth, ‘shadows reveal Forme « and convey 2 oenee af dept een droning what ne ote we hae the acbual conditions of light, shade, and shadow fo qude a drawing ana rendering of tonal values and textures, When drawing What we envision, We have ro ouch quide since the images oF the mind’ eye are rot alwaye aayotal clean. Theretore, we milet rely on certain principles which cant direct our use of shade and shadows A anadone tell ve ine sour © if our purpose 19 to define ehape and fe rrene des tote Satsang ae, © A daconnibte contract in tonal value ie cooential for bhe perception of edges and corners, © Shaded surfaces and ca6t ehadows 2°6 vevslly nub opaque, Hor conaistent In tonal value. 2‘The visual qualibies of c26t shadowa — ther length, clarity, ard ae clues £0 the quality of light, whether high 9 lm, bright oF Forme may be hidden from view but the shadows they c3et can reveal hoi Dhdponeveveriectnrevesae rendering tonal vues Che abun ontaces,CONSIDERING USE Jie veetul, parhcularly when drawing architectural and urban acenes, to Include veople bo estaboh scale and vse, and ta deocrive our relationship to bhe- environment, The Figures we vee to populate 2 drawing should be m ecale twth the eanrenment- and be arranged to indicate the nature of bie ackity appropriate ta the place, The figuree irecome important Clements in 3 compo sition and should nob conceal or dickract from 3 draming’s essential features, Establish the Gwe the obick proportions oF Bee Figure ( a wit datte she Dy figure round figure appro- wa ay . t volume. cosany detalo, | | | Achivity ing drawing is indicated by the grouping, posture, and Arcee of human figures, Use the relabive proporbins oF body parte 36 2 guide. when sketching different. postures and geotures, Dress fiyureo appropriately and remember that the amount oF detail shown diminishes ith distance and scale. wea ee 174We ohould melude human Figures 1a ll drama viens, in eomsco and plan obliques, the view 6 downward Bnd figures shovld have some denree df roundness to maleate their volume, Once the height of 2 oF 3 pererective. ure ve established, it can be ‘ohitted right or \ekb, up oF down, or into the depth 7DRAWING CONTEXT In addition bo people, there are other elemento which we can use fo suageob ie content fy nat ne dean, Theae typically include typography, landecape, 3 plant matonala the ombnence fs ace may aloo ve dicta aly ight, material calore and texture, the s6ale and proportion of ayacee, ot the cumulative etfech of devaile, ‘he drawing of these elemento muse ‘bake ino account there ahape, scale, patccen, values, and texture. Keop in pind theoe are simply parts oF 3 grostor whole, and the amount oF intereot and atkention we gue them should be proportional to their wmpor- tance to the overall compoaition,Within any aven cortex’, detail pronde visual duce to the nature of What me are dramng, the combination of detaile me choose to u2e, therefore, ‘should clarify rather than confuse ‘the image. i €DETAILS THAT COUNT “The mind oan ton often 7068 judgment mthevt looking 2 the oan Ficare detailo Sta aust In ny to araoe She woudl whee, ne ohculé be amare of the reed for detail development and the inbercet and variety it bingo to 3 rowing. Details must be nevally related to or placed witnin 2 structured pattern to make sense, Tine context sevice 26 4 Visual reminder 2 tre ocale wich which we are dela. ldcally, hie contort Sheuld be draw in lightly 20 pronde a Framenork for 3 particular area bo ve worked on m greater detail and more elahorately. the most significant debails voually gccur ab branitione in shape and form. These devaile are, directly related to the way materials turn corners or mech each ober in a construction. 7All materiale have some degree oF thickness. If the acale oa dramng permite, thie thicknoos should be widicated along edges and Gontoure, and where maberale overlap at comers. “The closer ne are bo something, the more dotal we con ote, Ponever, wo tan never Include every detallm a drawing. Since ‘some editing 16 neceasary, we must decide what ie imporcant and eaeential Ye complete the image, Rememivor ehob 2 few devalle can siggeat. 2 ot. includ Ing, £00 many dela, in act, can deprive: 3 drawing of the contrseb tb node bebween camploxity and arcae of itble or ro dezall, By this cantract, detaled areas will raturaly gan more omphasion 7180PECULATION DRAWING AND CREATIVITY Mikh imagination, we can visualize. whab once wae 39 well a9 speculate om whab might be, In veing droning 42 enhance thie power oF visualization, wwe rely nob only on aur abnity t0 draw Fvently ‘and Gonviningly, Pub also on cervain abtibudee Sward the drawing proceos ibeolf, We must sec the, image-making process 29 2 cresbve endeavor which hae 26 2 heart the speculative nabure oF reflection and though’, Drawing ye ambguove — Wwe draw out our thoughts withoue fully knowing Where. the proceso mil lead. Drawing’ encarages reflection while drawn images roprosent what ne ennoion, they also presont opportunities fr exploration’ and decovery. Drawing bimulaboo creativity ~ ib eperaces in the space between the real and the! maginary. @ dy ofDRAWING AS SPECU. ‘The process of drawing images on v3 roceavonywwdvto opeculspon. We oot never debermine, belarenand precisely what he fal evkaome al Ye The reloging image on vaper gradvaly bekeo Gr Meo) ha on We anh ve oer to the poosinitbice it presents 20 we rehect on and oxploro the thoughve and ideao it makeo veibe. EATIVE PROCESS Drawing 10 2 creative, mberackwe process Pessrouirte?* Wherein ne continuovbly evaluate the My, of? inmage aoe search for a congruence 4S conyect™ Vermeer toe image ne hed m ore mind's geld te ewe ae arom. ne ran vinaly, 28 if folowing a rezipe, We fit curoshos only to's Peeconctiled vmnage. and mise opportunties for diecorery along tHe nay. Ter‘paved on idea and developmental siatehe> y a) Noore. FEZLIN@ FIGURE, 995 Se RN (ep er lee ———— SET ey f wooed wesc ex rw ane ? A drannng can represent curvotty in Deepite the open-endedneee of the the purest sense, Things come be mind drawing proveno, We must be it control ase view a drawing In progress, which $9 that the emerging image deo nob Gan change vor porcepsion oF te prob take over complotoly ore wiay we drank pi eat roseiviieies We most always be rminaful cF geal IPallono vs toexplore and purpose, and be selective in the id not be foreseen divechion ne Cake in developing a betone the drawing wae started, we drawing. which generate ideas along the way. roN TUITION We must rely on intuition 29 a guide i the search for possiblities and ¢9 outlire chowes. infuition, however 9 based on infammed experience. We cannot draw ot Intuition and draw aut what v9 ro® already within each one oP us. Stil, drawing can yok lead the way m thio ineurtive search for dese and provide a Eransition from present to future possiby ,@ HUMAN FACTORS ——_ @ FescRIP TIVE WoRDS To IMAGES A MULTITUDE OF POs A drawing doce nob arewe full-blown and AY Camplte, Dranngs ote Sousa are HD SY nazsooarlly tentative, epeculabne, ard NACA ‘exploratory. We may obarb mth specitic KCortection or’ SET area ton Sci, ho emia ane As = Se dmcapt or Conotruce in any cose, a thoceucbtaciierebaoimportene 36 “A huneh is exestty trang ey ee Eee Sometinte.” Siig, Bcloce, toast OS brats omer intuitive images down on paper. ink Capea erGECTION VIEWS OF VERTICAL RELATIONSTIPS. pore CHE ‘The first sketches ne draw are oimilar tothe ovtines nese teonyanize the material faran eonay. They help us Bichil ubece matter down to casentiale and deaide what ie important. swe ran, the eukconsciovs works ito nay tn.and the minals aye filbero oub whst 0 of consequence, The mare Important aspects or Features mill tend tarise fo the surface wie lessor once are discarded n the process. TAKE ADVANTAGE OF CHANCE The omer the intial sketch, the broader the concepe te can fotm, Simall sketches are veeksl ance they allow a gamut of possiblities to be explored. Somenimeh 3 clear direction will emerge quk'y. Aeother tres, many draminge Bre required fo reveal the propor course oF schon. Incleror case, drawing dese ovb stimulates the development oF alternative strategien ina Huent and Flere manner, 108BE FLUENT Tobe fluent in the create process 6 to be able be generate a wide range oF poo sibtiice and ideas, Te ve Fluent in the drawing procens 16 to ve intuitive when Placing pencil 40 paper, reapending wich ‘ea90 and grace 40 ane% tnoughes, We ust be able fo keep up with our thovants, which can be Fleating. igo re magindtn, bie Gover the eae Feoney re rain not peace On 8 regia bose, He arn bo dw Petore dramng con become an intuitive Speed comes naturally oly win are osrvioval tring, we must practice and repetition over ft First be able ta draw elon. deliberately, extended poritd of time, Practice 2rd accurately. Wee apced may cone’ yal tne abe of putting dont a ine inith puohing oneself todraw faster, 1» an automatic reflex, a natural speed without the diecipine oF judg reoponoe ta what we ar seeing, mont 19 counterpraductive, Imagining, or drawing. bo/ + Related to fluenay we the idea of A quick mode of drawing \e necessary ta capture a bret moment mn tae flow efficiency. EFficiehay in drawing, and oF ideas, which cannot alwaye ve di- the resulting inereaee. in drawing opera, rected or controlled. Fluency in dranng come mith knowing what to draw and therefore requires 3 frechand tech wha to omit, what ie neceseary ard nique, with a minimum oF tale, Voir wrab is incidental. This keowledge toe ‘TLequaree and triangles to drstt one’s can only come with experience and 3 thoughte diverts too'much attention saving 2yen anay from the vieusl thinking process, 7BE FLEXIBLE ‘pe flouble 19 to be open to exploring 2 variety of approaches a0 new ideas and ponies arise, Fexinity ye wrear- ant because how we draw affects the unconsciaue direction of our thinking and how our visual thoughts are termed and arbiculated. PECOME FAVIILIAR WITH VARIOUS DRAWING MEDIA, TECHNIQUES, AND POINTS OF VIEW, IF we feel comfortable wit knowing Hon to draw only one way, relying on have and convention, We Urmecesearily limit aur Eninking. Tobe ae to look 36 problem in aifferent nays requires being able to draw these various yews. We mvet wecome familar and fluent. with the variove drawing media, #ech- Jes, and conventions, and View them simply 22 teole, to ve selected according to their sppropmateness tothe bask. 166Beginning, “ SN Srigina! witent i \ 4 De FLEXIBLE INTHE Pevons DCS, ZU é development = BN Ackual aubconnes” eases A floxitte approach bo drawing Io the beginning fo searon which often involvee Srial and error: The milingncss te 3k “what if...9” can lead, however, to alternatives worthy oF develop mont A Flexible abhitude thus slows Us to take advantage oF opportunities 36 they arioe m the drawing process. While Flueney and Flexibiiby are important in tke beainning phases of bry creative endeaver they must be coupled with judgment and selecity. We muse be, ave to generate and develop ideas without losing eight of the ofersall acal or purpose,TOLERATE AMBIGUITY The creative proces eccure over uncharted terricory. 7 pursue whst we do ab already kion, 1610 necessary fo havea seree of wonder, the patience {2 suepend Judgment, and 2 tolerance. for ambiguity. EXPLORATORY DRAWINGS ARE OPEN-ENDED, ABLE To BE ADAPTED To THE DEVELOPING NEEDS OF A SITUATION, In accopbing ambiquiby, we unforby- nately love the comtort oF Familiarity. Dealing only with the clearly defined and the familiar, koneror, preciudes the plasticity and adaptability of thoulht neceasary in ary creative endeavor Tolerating ambguity allows ve toaccert uncertainty, disorder, and the paradoxical in the process oF ordering our thoughts. The mystery and challenge of ambguity applica 30 well be drawing. how can we draw tne do vot know what the final image wil look lke? The anower lie> inunderstanding the exploraton nature of drawing wich 1 mended to stulate and extend our thinking, These freckand and intuitive dranings ‘iffer From the more form and expat’ Srawinge veed to communicate the results of one’s thinking.BECAUSE OF THEIR INCOMPLETENESS, IN-PROCESS DRAWINGS CAN BE READ’ AND DEVELOPED IN A NUMBER OF WAYS, The fret lines of a drawing are neces- sarily tentabie, representing only the beainning of a creative search. There ig an inherent ambiguity to the sbate of the draning before thie fully formed, Orly 29 the drawing 18 tranoformed and refined does it become clear enough to wage whether there wa satisfactory Gorrcoyondence between the imagined Image and the one we are drawing. Wile 2 pror nobon of an mage 16 necessary, t canbe > hindrance # we a nde 202 tb a0 something We can inberack mith 26 we draw. iF we can Bccopt the exporatory nature oF drawings, we can bonetie from what they reveal. When we can acceré their amibiguiby, ne open up the creative process to chance and diecovery.SEE IN NEW WAYS A creative imagination regarde old questions ftom 2 new anale. To oze in ew ways thus requires 2 keen poner of wavalieation and an underatanaing oF the Flenibiity drawing offore in posing new questions and presenting ew possiblities, | | Tangram puzzle as La, & 8 A&A 4% VARY THE PONT OF ViEW, Relying on habit and convention when we draw can impede tae flow oF new ideas. Creabiizy feede on 3 treoh oye. IF we can see shinge oboide oF Dheir primary context, We are bottor able Eo new the commonplace with a now Tpropechve, ewan beanstrm bre familar to the aerange ard che obrango bo te Familiar. We can ace hidden opportunities inthe unusual 2nd the paradoxical. FRAGMENT, SORT, REARRANGE. Drawing guee ve the meane to see. eninge which are net popsible in reality. As we draw, we can vary the arrange ment of information, We can free the: Information from te normal context ‘50 that Ie can come together In anew nay. Ne can fragment, sorb, and group according ta similarities and aiFter- ences. te can alber existing relabion- ‘ships and study the effects of new aroupings. wz(oD | 4 ¢ _TURW ANIDEA OVER IN THE MIND? Which assembly does nab ib the pathern ® We can stimulate ovr thinking by working 4 various levels of scale ard destraction To.ace mith a Frosh eye, we can look ata mirror image oF what We are drawing, We Gan turn the drawing upside down. Ne can stand rack from the draming to Study the vioual eooence of the mage — the basic elements, relationohipe, and 7at- terns, We can even 20e i through someone elac’s eco, See THE WHOLE AND THE PART IN THE WHOLE, It con pe useful to ee 2 situation from yarious points of view. Think abt the ‘thing drawn, bold fm the minds eye, and tarnit oer, Geet From aifferent 2opecta, Thencourage thio ahift m vie, emay re useful ta simply use a different medium, a diferent paper 2 different techniase, ora different drawing convention, 198MAKE CONN “e make connections 910 9ce oimiarities, neonaruitiee, ad Unexpeoked relation 2hipo amor 2 eerien of elemente oF groupings. Being able temake connzc Fons torus to the formation oF row Goncoptions, Bron 0 wedran, we oan actively oeck connechona and recognize patterns, Drawing can tive sorve 38 a Eatalyot for making theoe comnecbone 43nd eeaing in 3 ren Way. of : SF Nee my ARGS ECTIONS ns Bik ue RECOGNIZE PATTERNS: To recognize pabterne 19 te percee, the contguration oF significant omilarsice or differences amiong elements, Since perception based on the oearch for meaningful pabrerne, actwe pattern- ‘seeking 18 2 natural part of vival $hinking. Even when confronted with an Incomplete or amarphave patcern, We end to fill nor praect images te create, order out of chase. In draming, we invent and elaborste meaningful patterns with che basic Clements of doh line, shape, and tame. We bry to eokabion conerene relation ‘hips and a visual unity m the. compo- Siblon of ponitwe and negative shapeo wth sboriFioimg dveratty nar ‘hubting aub the ameiquove and the paradoxical ioe‘There often exist several layers oF patterns mn 3 drawing and theretore Berea laere of meaning nadaton to ‘the fundamental compostion oF ling, ‘shape, and tone, there may aleo be meaningtul compostions 2 eetail, texture, and color We should ve agen to recognizing these and not deal simply with tte moot abwove pattern We should fimeb identify these organ ‘ting patveens of a drawing vekore dehinng ince the analyocal concern for details, IF we can see these. Patterne in different waye— vy Grouping, closure, of projection We cheste more possibilities ahd the potential for gving an image a greater depth of meaning.ANALYZE AND S ‘Analysis and eynthesie are complemen- tary parte oF a single, crestive process. ‘Analyoio breake something down ico martageatle partes synthesis te the combining of rearranging of elemento tito a non nhale, Drains anon Uo she ablliby to work comfortably vack and forth between analysie and eyntheste, Analytical araming looks at ard av- stracts constituent parce and their Felatimohipe within 2 larger context, Synthetic drawing orchestrates the indwidual arapnic or design elemence Ingo a unified whole, snmmnegis ANALysi8., We develop and refine a draning by building op wt layer, Ths layering can ‘accor on 3 aingie eneet oF payer if ne develop 2 dearing mn 2¢39c, hearnning with te layout of foundation oF obrvc~ ‘ra ince. No draw theoe mitial mee laity i an ngoracony manner, Win tho Framework, we can begin fo analyze emerging pattern of eleniente and relationship. ANALYSIS, “Thea, 20 we make visual judgments on avalty oF ine, shape, tote, and compo ition, we draw over’ the develope Image, In a number of related but diecrete stops, we alternate hetween analyzing the parte of the drawing ‘nd synthesizing them into a sirgle, Unified compoostion weyy = (Ae SAT |i Ss LOMTO: & ef L | STUDYING POSSIBLE COMPOSITIONS TRYING OUT PIF 17 FORMATS COMBINING PARTS INA NEW WAY The beansformsbion of 3 drawing can alse accur through the physical layering of transparent onects of bracing payer, ints process, we can draw over anotner draning while analyzing ts constituent Clements. Trough tracing paper we con make connechons, see patterns, and Buby cehonships fem oe leer te Exercising yudgment, we, can rebain Gertam Clements and refine othero, We carn physical manner, manipulate and rearrange the layored images 29 ima collage, We can torm new a6s0~ rations and draw now patterns, We can decover and ayntheeize new images, 197BE SELECTIVE Fluency in dramng promotes the fluent aaneration of eas ho srawng apes tp cur ayes to a range of poesibiities, We must become selective and bemper ‘the dwergent nature of fluency mich convergent thinking, He must Fe able bo discern and focus an what 16 eign Gant. A create gearch can add up bo nothing we bee this focus, « Qne day Alice came to a York in the road and caw 2 Chesire cat ina bree, Stahl iT oad oie Hiresbooe nae 9 questions chee de you mane to 494" ‘Then sad bese, s'doone matter.” * lee care jocur ng BENES FOR A COMPANION, BUT MUST roxow REASON os oe ox: Pranng nbrode thinking 3 dead end, We must reason 36 We perceive, n, and draw. Drawing can help thought only fy comerning the inbuibive approach’ of vievalization with bhe reasoning of the intellect All the fivency we acquire in drawing will nob subebitute for an inquiring mind and 2 critical aye, 199200 Inecpresoing the ovter reat we. experience and the inner realty 2 the oind’s eye, we draw 3 dialogue between vain and. thouaica Ne create 2 separate world of mages, In the space velween the real and the imaginary,BIBLIOGRAPHY Arrieim, Rudolf, Vs Berkeley, 0A: University 1968. rome, Norman A, and foul Laseau. Viaual tes! Now ork’ Van Nootrand Reinhold Company, 1964. Devons, Edward, Lateral Think Creatunty y okep. New Yor Harper and Row, Publishers, 1970, adeon, Bort. Keyoty Drawing. Gineinnati, a: North bight Press, 1086, Edwards, Detey. Drama on the Right Side of the Broun, Loe Argcleo? Hougrtan Miffin Co, if Tarehor, 1970, Guptil, Arthur L, Freehand Drawins Self-tavaht. Now York: Wabson- Guptill Publications, 1280. | Thinking. ‘aliternia Press, Hanks, Kort and Larry Belliete Prawl A visual Approach te Thinking, earning, Le Cee ee ern Laseav, Maul. Graphue Thinking for 4. f ger, New Yorks GeNSeEtSea eeniall Company, 80 Laseay, Fal, [nkeline sketching. Now York: Van Nesbrand Kainhold company, 07. Leckard, Wiliam Kirby, Design Dramng, Reneed Edition. Tucson, AZ: fepper Publishing, 1082, MoKim, Roberé Hy Experiences m Vial “Tunkitg. 2rd Edition, Booton? PWS Pibhotere, M60. Nelms, Henning, Thinking wth a fencil. Berkeley, CA: Ton Speed 7299, 1901, ie, David. The Nature and Agothebice & Beoiag, New York: Van Nostrand Reintala Company, 1976, Rieger, Ernst and pater Klante. Creative Drawing: fount 20d. New York van Nootrand Remheld Conipany, (202, Thiel, Phillip. Freehand Cramiags A. Primer, New York: Prentice Hall Press, 201202 meaning m aur experience, Piscosential frve to 00, ond drawing we the Se in ander to apprehend WO | inobrument of the Inquiring eye that teaches us how fo see,” SF nara all The Language of Dramng Erglowood Clie, It Prentice Hall, eeINDEX alta, Alvar, 31,95, 162 aistract shapes, 05 Adama, Anael, 59 Bade frm 0 2eral peropeobive, 20 Srmbigsy, ost ‘Amieno Osthedral, 69 bralysi, 194-107 backargund, 60-61 Beardsley, Aubrey, 27 Bere, oq, 7 Bertelli, Petre, 189 Boring, 66, 76 calhgrapinc lince, #1 Corral, Lewis, 126 Cassatt, Mary, 80 Celarek, Aleksander, 161 circles In perspective, 120-120 clecure, 74-76 communicating, 26 ‘comm micabion, drawing 30, 32-38 compiex forme, 1e6-167 compooitien, 4, 70-71, 08-09 cone of vision, 101 connections, making, 194-195 Constable, John, 2B context, 16, 27, 176-177 continuity, 73 contour drawing, 42-46 contovre, 56, 42, 50-00, 02,04, 96 conbradt, 46,58, 112-179 convergence, 104-106 Corvater, Lt, 20,76 Crestive pracese, drawing 26, 20 creabuity, 101-182 cross-hatohing, 42 cube 39 drawing alement, 100,106, 11, ng-1i7, 124, 160" 2 Darwin, Charlee, 31 Bauman, Honore, € Caven, Robern, 7 Pale torarde 17,91, 69,77, 106 Petan Pagar ¢0 doph olbes, 99-97 depth, drawing, 22-188 treasury aoa) details, 17, 44,50, 176-179 iagonal lines, 122-129 diagrams, 32, 95 distant fansing pote 124-198 drawing 20 commiumication, 32-32 2 reprencntaton, 20-22 3 navateaton, 30-01 beyond the present, 19 FB maginstion, 19 ine, oot media, 20°25, 17,48 tga feaion Simaguey 27 flay fae, 98,49, 107 Dobe, “ean 7a Duty, Raoul, 51 208dlevation views, 152-189 envisioning, 197-179 equvacal figures, 12 exploratory drawing, 30-1 expreseing through drawing, 1, 20 expressive line, 37, 46°47, 61 fgure:qreundrelatonlupso070-7 dures n poropective, "a tite abanibang sie, 66 Flexibility, 185-100 Senay Ibo? foveshortoning, 16-107 form,"Araun, 67,1, teo ait ob 20,4347, 99,01 forms, Sdaieve, 162-03 comploe, Wee? sibteractve, Wh-168 Frost, Robert, 77 geometry, 44, 120 Aesture drawing, 20 Sraphie treatment, 27 aride, 147, 164, tet Ground plane, 95, 102 Sroupind, 72-73 204 hatching, 40 Hokveal, 31 horizon line, 2%, 10% illusions, 2, 16 Imagination, 31, 138-143 inclined lines, 126-127 intuibion, 194-105 Joe Temple, 04, 147 isomettic News, 168-160, 176 Jastrow, Joeeehy To “lohnson, Samvel, toe Jlordacrt, Jacsb, 49 Kahn, Louis 1, 60 Kumyooin, 82 layere, drawing i, 106-197 lighé, 21, 47, 42, 80, 130-191, 160, 172-179 line oF aight, tat line 20 drawing clement, 20, 96-37 linear rerapeckive, 26-136 linea, allgraphic, 61 contour, 36, 42-45, 68, 62, B4 drawing, 20-41 cxpreosie, 37, 46-47 Mlosienaey, 78 modeling, 40-49 qualities sf, 20-21 Fequlating, 31, 92-05 virtual, local valuee, £0Magritte, Rene, 200 rls, indicating, At Matisse, Henri, 37, o4 Mayheck, Doerr, 106 memory drawing,'1 ‘mind's eye, 16-1h, 76-77, 140 madeling linee, 40-49 movement, cheating, 24 raturalistic hayes, of Neumann, ealtoosy, 7 dblique yom, 196-157 175 one-point perspective, 106, 110-111 orbhographic views, 146-169 overlapping 29 2 depth clue, 24 Pantheon, 162 paraline' views, 165-160 Pattern, 20, 42, 194-106 pencile, 22°23, 26 pene, 21, 24-25 people, drawing, 74-176 perception, 12-19 poropectie, lemente of, 101-108 geometry, 126-136 linear, 20-198 measurements, 18-112 views, 185, 160- tal, 175 Fcaseo, Fable, $0, 64, 17, 100 picture plane, 9%, 12, 108-106 lat views, 140- 340 Presentation drawings, 2 praection, 76-77 Proportion, 17, 62, 64-08, 68-09 proximity, 72 Raphael, 97 reflections, 134-196 regulating lines, 37, 52-65 Reime Cathedral, 120 Rembrandt van Ryn, 198 ropresensation, araning 25, 28-20 Rain, Augiote, 102 | Rubens, tater Paul, 107 sesle, 64-65, 174-176, 198 section views, 10-121 seeing, 16, 12°17, 102-185 : selectivity, 1907199 ohade, 20,70-b0, 69 shadows, 62, '20-199, 172 ‘shape, 17, 20, 42-49, 62-69, 57-00, 172 Shape congtancy, 06 ‘sharon, ahobract, 05 36 eymbcle, 96-67 organizing, 70°71 positive and negative, 60-08 eighting techniques, 6-69 signs, 97 similarity, 72 simultaneous contract, 15 size consbancy, 9% Size 39 depen clue, 03 ‘9pace, 20, 54, 68, 92, 160, 170-171 pictorial, 92 spatial relationships, 34 ‘Speculation, draviing 26, 182-108 sbruchural patterne, 17, 26, 24, 44, 50-64, 6b, 05-69 subnect matter, 20 subsractive forme, 164-166 surface, qualities, 70-79 oymbria, 82, 07 aynthesie, 146-107 208technical ilvebestions, 99 texture, 21,44, 46, 49, 72, 62, 97, 162 three-point perspective, 100, the- 17 oral values, 40-40, 70-62, 26,160, 172 rece, drawang, 177 two-point perapective, 100, 12-115 ise, considering, tn 176 Vanishing pownéo, 14-18, 14-105 vertical lscation 36 depth lve, 96 wewpointe, drawing, 14, 27, 4-161, 10 woion, 16 vwioual acviby, 44 wisval concepts, 06-00 wieval depth clue, 93-97 vioual Judgmente, £9, 60, 160 woul memares, 19, 22, 130 visual perception, 12-16, 17, 29, 142 visval Signatures, 22-26 igual thinking, 30-31, 90, 140-144 wioualizing, 1a, te-10, 30-81, 40-42, 77, 142 Wolllard, Bdusard, 50 Whistler, Jameo Abbott, 47 Wright, Prank Llaya, 149 06WW Fated by Fran ‘a, es >, egal Piya cay ah >