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Line, tone and form in drawing

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教育者の方へ: Line, tone and form in drawing(Art and Design、Visual Elements)向けのすぐ使えるレッスンスライド, 復習ノート — レッスンで使うか、学習者がライブゲームとして遊ぶインタラクティブなクラス活動としてトピックを実施できます。

レッスンノート

Line and drawing exercises

  • Line may be actual or implied and can vary in direction, value, width and continuity. Contour drawing responds to edges and changes of form; a boundary need not be uniformly outlined.
  • Continuous line keeps the tool in contact with the surface for an exercise. Gesture drawing explores action, pose, weight or movement, often rapidly; blind contour is a different instruction about where to look.

Different line exercises

Different line exercisesApproachFocusContourEdges and changes of formContinuous lineTool remains on surfaceGestureAction, pose or overall movementBlind contourObserve subject without watching paper

Tone through mark-making

  • Tone or value is relative lightness/darkness. Hatching uses roughly parallel marks, including curved contour hatching; cross-hatching intersects families; stippling uses dots; blending softens transitions.
  • Compare the original illustrative pears: contour hatching, cross-hatching and smoother graphite tone all suggest rounded volume. A tonal scale consists of actual swatches, not merely a list of pencil grades.

Compare hatching, cross-hatching and smooth tone

Compare hatching, cross-hatching and smooth tone

Form and observed lighting

  • Form refers here to actual or suggested three-dimensional volume. A flat drawing can suggest form through tone, perspective, contours and spatial relationships.
  • Light areas, mid-tones and a form-shadow region depend on material and lighting. A core shadow can be a darker band near reflected light; contact areas may be darker. A cast shadow occurs on another surface where the object blocks light.

Read light and shadow

Read light and shadowFeatureDistinctionLight area / highlightParticularly light surfaceregionMid-tonesValues as the surface turnsCore shadow whereevidentDarker band within form shadowReflected lightLight reaching a shadow-sideareaCast shadowLight blocked on a receivingsurface

Observation and proportions

  • When observed accuracy is the aim, compare relative lengths, angles and negative spaces around, between and within forms. Look repeatedly at the subject and record the relationships you see.
  • Light layers can make revision easier, but are a technique choice rather than a universal rule. Naturalistic accuracy, smooth blending or maximum detail is not compulsory when another expressive intention is being explored.

Observe relationships

Observe relationshipsCheckWhat to compareProportionRelative heights and widthsAngleDirection of an observed edgeNegative spaceGaps around and within formsSurfaceActual texture and suitable marks

Develop and evaluate drawing choices

  • Compare small studies using different mark directions, densities or media. Explain what a technique contributes to the intended surface, value relationships or sense of volume.
  • Collage can create tonal relationships and controlled scribble can model form. A method’s usefulness depends on its handling and purpose; avoid rejecting whole techniques as incapable of tone or depth.

Select a mark strategy

Select a mark strategyMethodPossible contributionHatchingTone through line spacingCross-hatchingIntersecting marks and densityStipplingTone through dot densityBlendingSoftened transitionsControlled scribbleDirection, texture or volume

Pencil grades and practical tests

  • Graphite grades describe a relative hardness range. H is typically harder and B softer within a range; 6B is normally softer than 2H. Brands, paper and technique affect the resulting marks.
  • Create swatches with one pencil and varied pressure, then compare grades under similar conditions. Excessive pressure can indent paper; point shape and angle also affect width, so grade alone does not predict the finished value.

Test the tool, not only the label

Test the tool, not only the labelFactorPossible effectGraphite gradeHardness and dark-mark potentialPressureDeposited tone; indentation ifexcessivePoint and angleWidth and character of markPaperTexture and depositRepeatedswatchesCompare actual values

Read the pear’s tonal relationships

  • In the smoother right-hand study, a lighter upper-left area contrasts with the turning darker right side and the cast shadow on the support. Compare what happens on the form with what happens beside it.
  • This is original illustrative artwork, not a measured lighting experiment or a student submission. Real subjects may have different reflections, shadow shapes or multiple lights; use observation rather than a universal darkest-edge rule.

スライド

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練習問題

無料プレビュー — 33問中8問。すべて見るには登録を。
  1. 1.What is line in art?

    Easy
    • Aan actual or implied path with direction and extent
    • Ba colour
    • Ca texture
    • Da pattern
  2. 2.What is tone?

    Easy
    • Aa colour name
    • Ba shape
    • Ca texture
    • Dhow light or dark something is
  3. 3.In the visual-elements distinction between shape and form, what is form?

    Easy
    • Aa colour
    • Ba line
    • Cthree-dimensional volume, actual or suggested on a flat surface
    • Da flat shape
  4. 4.What does hatching use?

    Easy
    • Acollage
    • Bparallel lines
    • Cdots
    • Dsmudges
  5. 5.What does stippling use?

    Easy
    • Adots
    • Blines
    • Csmudges
    • Dpaint
  6. 6.What does cross-hatching add?

    Easy
    • Acolour
    • Btexture only
    • Cnothing
    • Dcrossing lines for darker tone
  7. 7.What is blending?

    Easy
    • Aerasing
    • Bcutting
    • Csmoothing tones together
    • Dadding lines
  8. 8.In this tonal drawing, what does highlight refer to?

    Easy
    • Aan outline
    • Ba particularly light area of the depicted surface
    • Cthe darkest area
    • Da shadow

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