December 12, 2001 By Glenn Vilppu
In the last lesson we discussed "The Silhouette -- Positive and Negative Shape." The main purpose was the use of two-dimensional elements in a picture; contours being a useful tool in expression and as a strong picture-making tool.
Let's Get Started
In the chapter on quick sketch, we discussed creating volume by drawing over and around the form seeing how lines are able to create a feeling of three dimensions. In the real world we live in, we see volume described not only by the surfaces of the forms which go around, but also by the light and the shadow that distinguish the sides of figures, or the planes, as we call them, artistically speaking. To create this same intense feeling of reality in our drawings, we need to be able to see our subjects as having tops, fronts, sides and bottoms. The simplicity of the box is the starting point for visualizing these planes. The use of the box for simplification is a traditional approach with a long history going back into the Renaissance and beyond. Luca
Camiaso and Albert Durer are good examples of artists that used it to great advantage.
Look at the examples on the following pages to see the progression from the box to the developed sketch. Our next step will be to define these planes with values of tone that give the illusion of light falling on them. When we are working in the field, the direction of light is usually established for us. As we discovered in earlier chapters, we do not necessarily need to take the light that is given to us, but have the option of making it come from wherever we need to have it come from for our purposes. Although we aren't stuck with the direction of light given, we should try to be consistent in our light source.
When working in the field, I find using a simple watercolor wash the quickest and easiest way to create a sense of light that describes form. The tone can also be applied when you get home or at a later time. As you notice in the examples, pencil works equally well.
All drawings in this article are by and © Glenn Vilppu.
In the next chapter I will discuss using the wash more thoroughly. Compare the drawings above to see how the wash helped to show the volume of the figures.
Continue on to see more examples.
Chapter 11: Atmosphere
February 13, 2002 By Glenn Vilppu
In the last lesson we discussed "Three Dimensional Figures." The main purpose was the use of tone to create the illusion of 3D form, this was one of the corner stones of the Renaissance and a useful tool in expression and as a strong picture making tool.
All drawings in this article are by and © Glenn Vilppu.
Adding the Unseen
Atmosphere, the air around us, is one of the more difficult concepts to understand. Even though the air that we breathe and are surrounded with is transparent, we still need to use it as an element that can be manipulated and made to serve our purposes. The transparent wash is my preferred medium to work with.
The simplest tool I have found to use while sketching is the fountain pen, with brush and water.
I have even used coffee and wine on occasion for a wash.
The fountain pen is my favorite because the ink used will bleed when water is applied to it.
When using pens with waterproof ink, an extra color wash is needed, and traditional watercolor, or sometimes even coffee as I mentioned, will work.
Many of the drawings in the previous chapter were done with just my pen, brush and clear water.
The first method we are looking at is the application of wash to separate forms. Look at the diagrams and examples; notice that the wash is not restricted to the form but is a general tone which comes in between and separates the forms. This is probably the most difficult hurdle for many students to overcome; that is, there is difficulty putting tones or lines where they don't see them. Combining this technique with the use of tone discussed in the previous lesson is a very effective way of working.
In the second approach we will use the tone as a compositional element to enhance the action of the figures. This
approach can be combined with the previous one. Take your cue from the action of the figure itself. The tone is used to amplify the basic action of the figure and clarify the direction of the
movements. It also can work as a complement to the action. Look at the examples on the following page to see which approach was used in each drawing.
In these landscapes and some of the other illustrations, the atmosphere is depicted as a fog separating forms. The white of the paper represents the air between the elements.
In this drawing using ballpoint pen, the line is used in the same way as the wash going between and around forms.