Fundamentals for Everyone Drawing Fundamentals for Everyone

Proportion and Measurements A human head can be divided into sections. The nose begins 1/3 of the way up from the chin, and the center of the eyes 1/3 of the face past the nose. Eyebrows begin at the edge of the nose on both sides, and the edge of the eyes are in a diagonal line between the edge of the eyebrows and the nose.

Proportion and Measurements Here, Leonardo De Vinci issued the proportions of a perfect man. Generally speaking, a human’s head is 1/6 of the height of the individual. Notice that human proportion is a product of both round and square shapes, humans are not square or round.

Proportion and Measurements Notice that the further away the focal point is(in this case the light), the smaller the ground looks around it. As the images in the piece are closer to the viewer, the larger they appear.

Proportion and Measurements Proportion and measurements are important to drawing because they help the detailed pieces of drawing fit together in a precise, logical sequence. Pablo Picasso is famous for distorting proportions and measurements for the sake of exaggeration, a technique come to be known as cubism.

Lines Here, the lines move the viewer’s eye from the center of the page to the edges. Although the lines aren’t as sharp as the city piece’s lines, the lines still take the viewer’s attention. If there weren’t such deep line in this picture, would the viewer’s interest remain?

Lines The viewer’s eye is caught on the lower right corner of this piece and brought diagonally over to the left side and then shot up the page vertically. The lines create a frame for the picture which doesn’t cut anything off, it just leaves the viewer’s eye in the center with the action.

Lines This photograph shows a diagonal line cutting across a vertical/horizontal background. The diagonal line of the photographer shows movement through the picture, making it more interesting than the square, solid background.

Lines Initiate: Movement in pieces Depth in pieces Frame of a piece As a note- lines are extremely important in a piece, without a defining line, it is easy to overlook a piece because there is no solidity to catch the viewer’s eye

Texture Here, Henri Matisse appears to have a fluffy, soft beard. This contrasts with the smooth, silky look of his shirt. Different stroke yield to different texture appearances. E.g.. Circles versus long strokes.

Texture The dry, thorny look of these sunflowers can almost be felt just by looking at them. The sharp ends to the stroke, combined with deep lines allow the edges of the sunflower to cut into the picture, issuing a sharp, dry feel of texture.

Texture Texture is key to adding dimension into a piece of art. Texture allows the viewer to feel the picture rather than just look at it. Texture is accomplished through different strokes and points, working together to create detail that is smooth or rigid or anything else.

Color Here colors work together to create a strong contrast. Contrast of color allows the viewer to see one feature all the stronger and prevalent.

Color Here, red is the dominant color and represents liveliness. Cezanne expresses the red individual is a clown which brings the viewer’s mind to the circus. The color red (the color of passion), initiates the thoughts of something fun and exciting as circus’ are known to be.

Color The red tones in Picasso’s piece exaggerate the character’s aggravation, while the blue tones make that aggression slightly more passive. The white in the character’s eyes also shows fierceness.

Color Color issues passion or submission or any other feeling through the piece. Color creates a mood. Color expounds upon emotion. Color is important but not necessary in having a successful piece. Color enhances emotion and the mood of a piece.

Light Initially, this picture looks as though a light is on by the building on the left. The contrast between light and dark is essential in creating a piece that looks bright.

Light As can be seen, light initiates shape. The darkness that the light doesn’t touch says a lot about the shape because the viewer’s eye can see what sort of shape would block out the light. Shadows are important to shape, which means light must be also.

Light Light is the creator of mood and shape. With out light, art pieces would not exist. It is extremely important to pay attention to the light on a subject and shade shadows accordingly. Drawing essentially is shading shadows onto a piece of paper, manipulating them to create a recognizable form.

Value In this cubist piece, the values change as shapes change. Edges and shape is determined by the value that the color possesses next to another.

Value Value can go from extremely deep to extremely light in a piece. Here the sky shows this transition slowly, but the skull shows quick transition of value which creates and edge, or a line.

Value Value here shows variance in the piece. A darker value against a lighter value creates positive and negative space. (an essential means of bringing the viewer’s eye around the page).

Value The value of the piece is very important to create shape. The value and shading work hand in hand to represent and familiar shape. Value initially works with tone to create depth.