I can’t stress enough how important shapes are. When reproducing an image or coming up with a composition, shapes dictate how it is going to turn out. But before this will be elaborated let us talk about the fundamentals.
Shapes are closed line segments. Just like lines, the way they are presented can communicate a certain idea. They can be presented in a million ways; however it all boils down to three basic figures:
The circle – this can be an oval or an ellipse depending on the variation you prefer. This shape
signifies gentleness, friendliness, and completeness – just like wavy and curved lines. Animators compose friendly characters with either a circular face or a round body (see Fig. 3a1).
This shape also de-escalates any seriousness in any composition. Evidence to this is in Fig. 3a2 where the objects either have a circular shape or have had their edges rounded. Kid’s shows and illustrations use this technique to make it more appealing to its audience.
“Chibi” or cute deformation in Japanese is a popular drawing style popularized by the manga or Japanese comics. The base shapes used in this cartoon figure are circles to make it cute and less serious. Below, the steps are shown to make your own chibi cat using circles.
In design, circles are a popular choice. They are often used in vector graphics to give off a sophisticated modern feel to the composition. See Fig 3a4. In addition, the shape when used sparingly can be used to compliment lines and angles to break monotony as in Fig. 3a5.
The square – is the shape that represents stability. The key is in its angles, lines that create an angle
already translate to the idea of rigidity and constancy. A square or rectangle solidifies the concept, no pun intended. This shape can also communicate both formality and immobility since it is a combination of horizontal and vertical straight lines.
Objects using this shape are often serious and inevitably become boring. Check out Fig 3b1, the drawings on the left are dull and need at least another shape to act as an accent piece to make it interesting. On the right are the objects with the said accent pieces which make them more appealing.
Although the square by itself is visually uninteresting, this brings the advantage of filling space while highlighting the accent pieces. It is this reason pictures are usually hung with square frames.
Another asset of this shape is its ability to depict strength, weight and dependability. Cartoonists draw characters and objects with a square frame when they want to communicate such ideas. How they vary size and shape can have interesting results. See Fig 3b2.
In Fig. 3b3 we see the three-step process of drawing a simple cartoon character using the square shape as a base.
The square in its own right is a basic shape. People often ask us why other polygons can’t be classified as a basic shape. The answer to that is because when a square adds a side or an angle, eventually it just becomes a circle. Take one out and it’s a triangle, and that is the next shape we are going to talk about.
The triangle – is the shape for dynamism, direction and energy. This shape can also signify danger
and pain because of its pointy shape – as common sense dictates, anything that is sharp is dangerous and harmful. However there are exceptions. The triangle can also represent safety and shelter because of its association to some structures. Can you find which in Fig. 3c1?
This shape can also add an air of deviousness and mystery to your characters. Concept artists use this shape to draw sets and characters of fantasy and occult. See Fig 3c2.
Using the same idea as mentioned above, cartoonists and animators usually design the stereotypical villains based on the triangular shape to give them that bad-to-the-bone look while at the same time giving the audience a sense that they are mobile and active. In Fig 3c3 we explore the makings of a villain by designing the classic hat and cloak fiend.
Used carefully in designs, the shape can be used as a subtle accent piece to make it more interesting. Triangles added with other shapes usually give a sense of motion and liveliness. See Fig 3c4.
Breaking down the shapes and spaces of an image
Now that we have discussed all about the three basic shapes, it is time to apply them with our drawing. On this lesson, we are going to attempt to reproduce and image accurately, without the need to turn it upside down.
The key is to look at the image as a group of shapes clumped together starting from the biggest to the tiniest.
(Fig 3d2) Is a line representation of the famous painting to help you breakdown the shapes much easier.
Let us take some time to appreciate this classic. Before you put pencil to paper take note of the general shape of the subject in the image contrary to the negative spaces (Fig 3d3).
Next, either fold your paper twice, crosswise and lengthwise, to create four equal parts; or you can use a ruler to draw a very light line to divide the parts. After that, refer to Fig 3d4 as a guide for your drawing. You can print this out if you like. The folds or the lines will serve as an anchor point for drawing the details later on.
Draw the general shape of the subject. Take note of the empty spaces versus the anchor points. Worry about the details last (Fig 3d5).
Once you have the general shape of things, break it down further by drawing the next shape that occupies the most space and so on. Do so until you draw the smallest. Keep in mind that at this stage we are still not drawing the details. This is basically a rough outline of your drawing. (Fig 3d6)
Again, break it down further. Look for familiar shapes. Note that the wrinkles of her clothes can be tricky, and sometimes you cannot find shapes that coincide with them. To avoid confusion, skip them and move on to a different area.
far or too near compared to the reference, erase and revise. It is better to do so in this stage than risk ruining a good drawing later.
Then, when you are satisfied with the rough outline, refine the shapes by rounding the edges that need to be rounded like the face or the shoulders etc. draw the simple details that occupy the most area. And then eventually the smaller, more minute ones. See Fig 3d7.
Fill out the necessary details as a last step. Clean up your work by erasing the unnecessary lines. Now you have a Mona Lisa drawing. The result may not always come as expected so always practice. Fig 3d8 is our artist’s drawing. How well did you do?
A good tip for accuracy is to do the steps with the reference picture upside down. Try it and see for yourself which one is more effective.