![]() Notice how the rules of composition also play into this drawing. This figure drawing also uses line weight effectively. Notice how thinner, lighter lines tend to be used to define areas where the surface area changes. Even technical drawings use line weight to help accurately depict the subject. Look at how he has used line to define the crease in the woman’s stomach. Egon Schiele is also a master of contour drawing. Areas that are darker are achieved by groupings of smaller lines, suggesting texture or a slight shadow. In this Gustave Klimt drawing the thick and thin lines really help to define the shape of the body. Notice how the folds of the fabric appear to have depth. ![]() After further inspection, however, the contour drawing used to layout the rest of the drawing is extremely well drawn. Obviously value has been used in this drawing on the areas the artist found most important. the features on her face really suggest three dimensions because of the way line weight has been used. There are areas in this drawing that are filled in with straight black, but otherwise the detail is achieved entirely with contour. This can be a good way to show a change on the surface. In this Warhol drawing he uses tiny lines to make detail that happens inside the form of his foot. He also uses different types of line to define different areas- look at the difference in the line used to draw the jagged edge of the lid compared to the smooth, accurate line of the can opener. This Warhol drawing defines the cast shadow with a contour line as well. Notice that he has chosen to use contour to define areas where shadows were cast on this figure. In this Andy Warhol drawing the line weights also change, though not as dramatically as in the last drawing. Lines in this drawing tend to be thicker where there may have been a shadow. This portrait uses thick and thin as well as darker and lighter lines to better define the face. Often the thickness of your line should change in places where two lines intersect. The drawing of the two leaves, however, also uses a variety of line weights to to better describe the way a leaf looks. Both of these drawings use line to define the subject of the drawing. Rather than using value and shadow to define shape and form, a contour drawing uses LINES of different thickness to do the same thing. Another good option is to use circular shading and avoid creating any directional movement at all. This doesn't accentuate the foreshortening as perspective shading does, but it also doesn't fight against it. The right panel of this box is shaded vertically. With a practiced eye, you can do this by instinct, or, as you see in the example, you can draw subtle guidelines back to the vanishing point first. In the second example, the direction of shading follows the perspective correctly, with the angle changing gradually so that it is always along an orthogonal (vanishing line). Beside it is a panel shaded horizontally: again the shading fights against the perspective and flattens the drawing. A common mistake that beginners make is to begin shading along one edge of an object in perspective and to continue that direction all the way down so that by the time they reach the bottom, the direction of shading is working against the perspective, as in the panel at top left. If you are doing a quick sketch or roughly shading an area, the direction of the pencil marks can be very obvious, and even a quite dense shading can still reveal directional marks. ![]() This material is NOT open source or public domain. If you see this content elsewhere, they are in breach of copyright law. This article is copyright of Helen South. ![]() Try shading with hard and soft pencils, too. Using a sharp point to shade allows you more control, you can do much finer work, and get a greater range of tone out of the pencil.Įxperiment with both to see how they look on your paper. The difference doesn't show up clearly in the scan, but you can see that the side shading has a grainier, softer look and covers a large area quickly (a chisel-point pencil will also give this effect). The example at left is shaded with the point, at right, with the side. To begin with, decide whether you want to use the point or side of the pencil to shade with. The following pages offer a few tips to get you started. The first step to successful pencil shading is to control the movement of your pencil, making sure that every mark you make on the paper works towards creating the shading or modeling effect that you want.
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