Basic Concepts for Drawing/Design
Drawing/designing is a representation of some form, object or idea of mind. Your drawings/designs must
be visually correct and represent the elements correctly. The following are basic drawing/design
requirements and expectations that should be seen in your art portfolio.
Scale and Proportion refers to the relative size and relationship of the various elements in a
drawing/design. The concept is the relationship between objects, or parts, of a whole. This means that it
is necessary to discuss proportion in terms of the context or standard used to determine proportions. For
example if you use an ordinary bottle and a glass in your drawing, the size of bottle is approximately
twice the size of glass. This is the natural proportion relationship between a bottle and a glass. Like wise
all elements in an artwork have a proportional relationship between each and all items.
Natural Relationships (as they appear in nature) makes
your drawing/design understandable to the viewer. The
example to the left shows the size relationship of a dog, cat
and a rabbit. While drawing/designing you must analyze and
understand the unique relations
of all the elements used in your
artwork.
Exaggerated or Unrealistic Scale and Proportion makes a visual
statement. Altering the expected scale and proportion can add importance,
humor or satire to an artwork.
Visual Perception is the relationship of objects in an artwork with distance and the angle of eyesight. It
is the basic theory that as objects become more distant they appear smaller because their visual angle
decreases. The visual angle of an object is also called linear perspective. Learning to draw/design
using 1-2-& 3-point perspective sharpens your observatoional skills and allows you to create depth, the
illusion of 3-D on a 2-D surface in your artwork.
In the image to the left, the pillars visually appear to get smaller as the
distance increases. This is the first concept of perception.
The second concept, optical illusion (also called a visual illusion) is
characterized by visually perceived images that differ from objective
reality. The information gathered by the eye is processed in the brain
to give a perception that does not tally
with a physical measurement of the
stimulus source.
There are three main types: literal optical illusions that create images that are
different from the objects that make them, physiological ones that are the
effects on the eyes and brain of excessive stimulation of a specific type
(brightness, colour, size, position, tilt, movement), and cognitive illusions, the
result of unconscious inferences.
View Point (eye level) is the height from which
the artist sees the subject they're drawing/designing. It determines where
the horizon line is. Each specific level lets you see the object in a variety of
ways. Above eye level says you see what's on top of the object, at eye level
shows what the object looks right in front of you, and below eye level shows
what you can see under the object.
Object below eyelevel – looking down
Object at eyelevel –looking straight
Object above eyelevel –looking up
Extreme Perspective
Foreshortening is a technique for creating the appearance that
the object of an artwork is extending into space by shortening the
lines with which that object is drawn.
3-Point Linear Perspective- If your point of observation is higher
or lower than the object, a third vanishing point comes into use.
When looking up or down at extreme angles the vertical sides
angle to a third vanishing point in the far distance. The worm’s
eye vanishing point is called the zenith. The Bird’s eye vanishing
point is called the nadir.
Light & Dark Relationships
Light and Shadow is the effect of light on the
objects. When light from a point source like a sun or a bulb falls on an object it projects a shadow in the
opposite direction and the side of the object facing the source of light is illuminated. Using light and
shadow in your artworks will make your drawing/designs very realistic.
Shade and Shadow are two different things related to light as shown
in the image on the right. The surface of the object itself, which is not
receiving light, is the shaded area. The surface where light is
obstructed by the object, or other objects is the cast shadow.
Value (Tone)
Value is the range of lightness and darkness of objects and surfaces.
Value is created by a light source that shines on an object creating
highlights and shadows. It also illuminates the local or actual color
of the subject. Value gradation creates depth within a picture making
an object look 3-dimensional with highlights and cast shadows. In a
landscape it gets lighter in value as it recedes to the background giving
the illusion of depth called aerial perspective.
Expressive Quality of Value
Light values (high keyed) usually seem delicate while dark values (low keyed) generally show strength. A
strong contrast in values often produces drama. As light moves over a 3-dimensional object, it changes
in value from light to dark. Illustrating this change in value is called chiaroscuro (a system of light,
shadow, reflected light and cast shadows). Values are not absolute, but are relative to other values
nearby. What seems a middle value in one situation may be a dark or light value in other relationships.
Composition is the art of organizing the objects or elements to make the artwork more interesting and
attractive. A good composition can be achieved by following the Principles of Design. The most important
ones you will need are emphasis, unity, and balance.
Good Art Always Starts With An Idea
To use the elements of art and the principles of design effectively it is necessary for the artist to have an
idea to express or an objective in mind. This is vital to the success of any artwork. Without an objective,
the most careful attention to creating a unified composition will result in an uninteresting artwork. With an
idea, even though the principles of good design may be used instinctively, an exciting composition can
emerge. Every artist's goal should be to create a composition that is both unified and interesting to look
at.
Keeping It Simple Is The Key To Good Design
Good design is the simplest solution to the design problem. It involves editing down to only the essential
elements required to achieve the desired effect. Restraint and simplicity are important in the creation of
good design. There are no rules for using economy, if an element works in the composition with respect
to the whole design, it should be kept. If it distracts from the desired effect, it should be re-evaluated for
its purpose. Never use anything for its own sake, always consider and justify its inclusion for the
contribution it makes to achieve the overall design effect. Much of the beauty and skill in good design
focuses on what is left out, rather than trying to include everything you can. It is equally important not to
edit too much or your idea may be lost, and your composition will be uninteresting.
Establish An Effective Area Of Emphasis
Emphasis is the stressing of a particular area of focus (focal
point) rather than the presentation of a maze of details of equal
importance. When a composition has no emphasis nothing
stands out. Effective use of emphasis calls attention to the most
important area of the artwork. By placing emphasis on the most
important area of the composition an artist creates visual interest,
which causes the viewer’s eye to return to the area again and again.
The focal point may be the largest, brightest, darkest, or most complex part of the whole, or it may get
special attention because it stands out for some other reason. No more than one component should
compete for primary attention. Where several components get equal billing, emphasis is canceled out.
Emphasis can also be created by contrasting the primary element with its subordinates, or by a sudden
change in direction, size, shape, texture, color, tone or line.
Placement Of The Focal Point
The rule of thirds is one of the most basic composition guidelines for learning
how to design an artwork. The rule says that the focal point (subject or main
idea) of an artwork should be placed near the intersection of the lines that
would divide the artwork surface into three equal columns and rows. This
creates more energy, tension, and visual interest than simply placing the
main object of interest within the center of the artwork. Applying the rule of
thirds to a composition means you'll never have an artwork that's split in half,
either vertically or horizontally, or one with the main focus right in the center
like a bull's-eye. No matter what component is chosen for emphasis it should never demand all the
attention. Emphasis is necessary, but a good composition is one in which all the elements work together
for a unifying effect.
Visual Unity is seeing the whole before noticing the parts. The viewer is looking for some sort of
organization. An artist must provide clues or the viewer will turn away and ignore the painting. Unity is
planned and controlled by an artist. Visual Composition is not a careless scattering of random items
around a format. It exhibits some harmony or agreement between the items.
Sometimes => chosen elements naturally create unity because they are similar in theme
More Often => it is the skill of the designer that creates a unified composition
Gestalt
The study of gestalt originated in Germany in the 1920s. It is a form of psychology that is interested in
higher order cognitive processes relative to behaviorism. The aspects of gestalt theory that interests
artists and designers are related to gestalt's investigations of visual perception, the relationship between
the parts and the whole of visual experience. Gestalt theory itself is rather lengthy and complex, dealing
in various levels of abstraction and generalization, but some of the basic ideas that come out of this kind
of thinking are more universal.
Similarity
Similarity occurs when objects look similar to one another. People often perceive
them as a group or pattern. The example to the right (containing 11 distinct
objects) appears as a single unit because all of the shapes have similarity. Unity
occurs because the triangular shapes at the bottom of the eagle symbol look
similar to the shapes that form the sunburst.
When similarity occurs, an object can be emphasized if it is different from the
others. This is called an anomaly.
In the example on the left, the figure on the far right becomes a focal
point because it is dissimilar to the other shapes.
Continuation
Continuation occurs when the eye is compelled to move through one object and continue to another
object.
Continuation occurs in the example to the left, because the viewer's eye will
naturally follow a line or curve. The smooth flowing crossbar of the "H" leads the
eye directly to the maple leaf.
Closure
Closure occurs when an object is incomplete or a space is not completely enclosed.
If enough of the shape is indicated, people perceive the whole by filling in the
missing information. Although the panda on the right is not complete, enough is
present for the eye to complete the shape. When the viewer's perception completes
a shape, closure occurs.
Proximity
Proximity occurs when elements are placed close together. They tend to be perceived as a group. The
nine squares on the left are placed without proximity. They are perceived as separate
shapes. When the squares are given close
proximity (middle), unity occurs. While they
continue to be separate shapes, they are
now perceived as one group. The fifteen
figures right form a unified whole (the
shape of a tree) because of their proximity.
Figure and Ground
The eye differentiates an object from its surrounding area. A form, silhouette, or shape is naturally
perceived as figure (object), while the surrounding area is perceived as ground (background).
Balancing figure and ground can make the perceived image clearer. Using unusual figure/ground
relationships can add interest and subtlety to an image.
Figure
The word “Figure” above is clearly perceived as figure with the surrounding white space ground.
In the image on the left, the figure and ground relationships change,
as the eye perceives the form of a shade or the silhouette of a face.
The image on the right uses complex figure/ground relationships
which change upon perceiving leaves, water and tree trunk.
Visual Balance
Balance is an equilibrium that results from looking at images and judging them against our ideas of
physical structure (such as mass, gravity or the sides of a page). It is the arrangement of the objects in
a given design as it relates to their visual weight within a composition. Balance usually comes in two
forms: symmetrical and asymmetrical.
-Symmetrical balance occurs when the weight of a composition is evenly distributed around a
central vertical or horizontal axis. Usually it assumes identical forms on both sides of the axis.
When symmetry occurs with similar, but not identical, forms it is called approximate symmetry. In
addition, it is possible to build a composition equally around a central point resulting in radial
symmetry. Symmetrical balance is also known as formal balance.
-Asymmetrical balance occurs when the weight of a composition is not evenly distributed around a
central axis. It involves the arranging of objects of differing size in a composition such that they
balance one another with their respective visual weights. Often there is one dominant form that is
offset by many smaller forms. In general, asymmetrical compositions tend to have a greater sense
of visual tension. Asymmetrical balance is also known as informal balance.
-Visual Center of any page is just slightly above and to the right of the actual (mathematical)
center. This tends to be the natural placement of visual focus, and is also referred to as museum
height.
Visual Weight
Physics Principle => two items of unequal weight can be brought to equilibrium by moving the heavier
inward toward the pivot point.
-In design this means that a smaller item placed out toward the edge can balance a large item
placed closer to the center.
-A heavier element can direct the viewers’ attention to the opposite side, making a small item a
balancing element.
-A form gathers visual weight as it nears the edge of a picture. So a small form near an edge can
balance a larger form near the center.
-A complex form is heavier than a simple form. So a small complex form can balance a large
simple form.
-A large form is heavier, attracts more attention than a small form. Two small forms can balance
one large form.
Visual Truths
A. Viewers tend to group objects that are close to each other into a larger
unit.
B. Viewers tend to group negative (or empty spaces) into a larger unit.
C. The brain will tend to relate and group objects of similar shape
D. The brain will close the spaces between similar shapes to form a design
of “lines”
Positive & Negative shape-Every composition has positive & negative
shape – positive shapes are the solid objects; negative shapes are the
unoccupied spaces between the positive shapes. Dedicate as much
attention to the spaces between the shapes as to the shapes themselves.
Visual (Dynamic) Tension – the visual magnetism of two shapes. When two shapes occur there is a
statement of measurement and implied direction. The relationship of the shapes creates a tension (pull
of forces), which affects the intervening space. Shapes appear to fall or be pulled by gravitational
factors. They appear to lean over, to fly, to move fast or slow, to be trapped or free.
Closure – the eye closes a space or makes connections. The eye tends to group shapes on the basis of
proximity or similarity. Two shapes close to each other are seen together as a visual whole even though
they are not the same. The eye will link similar shapes even though they may be placed far apart from
each other in the visual field.
Continuance - the idea that once you begin looking in one direction, you will continue to do so until
something more significant catches your attention. Perspective, or the use of dominant directional lines,
tends to successfully direct the viewers eye in a given direction. In addition, the eye direction of any
subjects in the design itself can cause a similar effect.
Similarity, Proximity and Alignment - Items of similar size, shape and color tend to be grouped
together by the brain, and a semantic relationship between the items is formed. In addition, items in close
proximity to or aligned with one another tend to be grouped in a similar way.
Dominance relates to varying degrees of emphasis in design. It determines the visual weight of a
composition, establishes space and perspective, and often resolves where the eye goes first when
looking at a design. There are three stages of dominance, each relating to the weight of a particular
object within a composition.
-Dominant: The object given the most visual weight, the element of primary emphasis that
advances to the foreground in the composition.
-Subordinate: The objects given the least visual weight, the element of secondary & tertiary
emphasis that recedes to the middle ground & background of the composition.
Compositional Schemes
Geometric schemes are a device that can be used to compose an artwork. Geometric forms have been
used in artistic composition for hundreds of years. During the Renaissance artists used the triangle as a
perfect scheme for creating a symmetrically balanced compositions. Later the diagonal scheme was
used to compose an asymmetrically balanced composition. When composing your artwork, try to find the
overall form that corresponds to a particular geometric shape. This is the path the viewer’s eye will follow
through your design. Be sure that your artwork expresses a visual whole, and not scattered pieces.
The Illusion of Space
In two-dimensional artwork the feeling of space or depth is an illusion because the picture plane is
essentially flat. Artists throughout the centuries have studied the problem of representing the visual
illusion of space and depth. Several devices have been used.
Size - the easiest way to create an illusion of space or distance is through size. The farther away
objects are in the distance, the smaller they visually appear to become.
Overlapping - is a device for creating an illusion of depth. Each shape hides part of another
because it is on top of or in front of the other.
Linear Perspective - is a complex spatial system based on a relatively simple visual
phenomenon: As parallel lines recede, they appear to converge and to meet on an imaginary line
called the horizon, or eye level.
Equivocal Space - Most art in the 20th century has not been concerned with a purely naturalistic
reproduction of the world around us. Many artists have chosen to ignore the device of
overlapping. Instead, they have used what is called transparency-- when two forms overlap and
both are seen completely.
Transparency does not create a clear spatial pattern. It is difficult to
understand which form is on top and which is behind. The spatial
pattern can change as we look at it. This purposeful ambiguity is
called equivocal space, and many artists find it a more interesting
visual pattern than the immediately clear spatial organization
provided by overlapping in a design. Another reason to use
transparency is to reveal hidden objects.
Texture refers to the sense of touch, the surface quality of an object.
Texture can add valuable visual information and create intrigue in artwork.
An artwork that suggests or duplicates various kinds of textures in a
composition has simulated texture. An artwork that actually includes pieces
of paper, cloth, wood or other materials has actual texture.
Developing A Personal Style
Style is when you can tell who did the artwork by just looking at it. It is as much a part of the artist as his
or her handwriting, way of pronouncing words or way of writing. Style takes years to mature, but even in
the beginning it is recognizable.
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Experiment and try new techniques and materials.
Study a variety of outside sources.
Study the artwork of artists of historical importance.
Add your own cultural background, ethnic ties, family and friends.