DSNS 1310 Exam 1: Part 1-6

prolly not all of it, this is just definitions

object analogy (creative strategy)

look at an object and recognize how that object is similar to your problem

metamorphosis (creative strategy)

traits of two objects would combine to form a new image

metaphoric thinking (creative strategy)

comparing the meaning and attributes of one thing to the meaning and attributes of something else

word lists (creative strategy)

ask the what, where, when, how, why, and who

sketchbook strategies

daily habit

keep it simple

document your surroundings and experiences

use sketching as research

experiment

reiterate

communicate with notations

exaggerate

play with ideas

creative strategies

object analogy

metamorphosis

metaphoric thinking

word lists

play

brainstorming

looking at opposites]

using manipulative verbs

looking at nature

design heuristics

design heuristics (creative strategy)

strategies for efficient problem solving derived from previous experiences with similar problems (mental shortcuts that can ease cognitive load)

ex: scale up or down, merge surfaces, convert 2D to 3D, allow user to reconfigure

design

(aka composition) organization or arrangement of design elements to give form to a visual idea

format

shape and dimensions of a drawing

thumbnail sketches

small, quick, preliminary organizational line drawings

used to investigate a range of compositional alternatives

organizational line drawing

(aka relational line drawing) light, simplified sketch which concentrates on mapping out general size and location relationships between forms and compositional structure

observes relationships, not details

pentimenti

light, preliminary marks

serve as tentative under-drawing

records drawing progress

subject matter

what is depicted in the drawing

style

characteristics of form which are consistent that make a work identifiable as the product of a particular person, movement, period, or place

content

meaning inferred from the form and subject matter of a visual work

(informational, emotional, intellectual, symbolic, thematic, or narrative connotations)

gesture drawing

quick, spontaneous, all-encompassing statement of form

type of organizational line drawing

approach builds from the inside out, unlike contour line

types of gesture drawing

linear gesture drawing

continuous line gesture drawing

blind gesture drawing

mass gesture drawing (block in primary shape relationships with a broader stick)

tonal gesture drawing (shadows)

continuous movement gesture drawing (records movement of the model)

contour line drawing

line drawing which describes the edges of forms

cross-contour line drawing

line drawings where lines appear to go across or around an object to indicate the turn of its form

emphasize 3D structure

planar analysis drawing

line drawings that describe the 3D structure of forms

complex forms are generalized to planar shapes (facets)

tonal drawing

drawings that emphasize contrasts in tone instead of line

types of tonal drawings

hatching (parallel marks)

cross hatching (intersecting hatch lines)

stippling (dots)

continuous tone drawing

drawing with smooth gradations of tone

strokes are blended, layered, or overlapped to not reveal their direction

wash drawing

drawing which incorporates a wet medium (usually ink) that is diluted to achieve tonal variations and applied with a brush

medium

specific material used by an artist

dry and wet media (combining more than one material is mixed media)

metalpoint (dry media)

ancestor to modern graphite pencil

thicker gauge wire is put into a mechanical lead holder for drawing

lightest and darkest marks in graphite pencils

lightest: 9H

darkest: 8B

hardest and softest marks in graphite pencils

hardest: 9H

softest: 8B

compressed charcoal

charcoal mixed with clay binder

pencils and sticks

graded like graphite

harder to erase because of clay binder

smudges will still be visible

better for lines, sharp edges, and dense blacks

requires fixative to preserve work

vine charcoal

burnt willow sticks without a binder

thin to thick (no pencil form)

more brittle

soft, medium, and hard grades

good for light to medium dark tones

more easily smudged, blended, and erased (marks can be smudged out)

works better on surfaces that aren’t too smooth

used for drawing additively and subtractively (lifting and erasing)

requires fixative to preserve work

chalks and soft pastels

available in wide range of quality, price, and colors

stick and pencil forms

blending is easy

easily smudged (fixatives could cause color changes if used)

layers can be isolated from mixing tg with fixative

works better on surfaces that aren’t too smooth

pastels are better for larger drawings

preferred medium of painters

fixative spray can eliminate smudging but will alter some colors

crayons (wax) and oil pastels

wide range of quality, price, stick shapes, and colors

easily blended and mixed

oil solvents can be used with stiff bristle brushes

easily smudged

not easily erased (errors can be scraped off)

works better on surfaces that aren’t too smooth

colored pencils (wax binder)

softer leads allow for wider range of contrast and intensity through pressure

harder leads keep sharp points longer (good for intricate detail)

watercolor pencils

water soluble pencils

can be used with dry or wet brushes

no fixative is required to prevent smudging

blending stomps and tortillions (dry media drawing tool)

pointed, rolled paper tools for blending

chamois (dry media drawing tool)

animal hide rag used for lifting vine charcoal or blending larger tonal areas

eraser shield (dry media drawing tool)

thin metal template with various cut out shapes

laid on top of drawing to mask edges creating sharply defined erased areas

kneaded eraser (dry media drawing tool)

eraser that can be shaped by hand to lighten blemishes

useful for softening lines, erasing smudges, and for working subtractively with vine charcoal

art gum eraser (dry media drawing tool)

eraser that erases soft markings (may fail to remove heavier lines)

plastic stick eraser (dry media drawing tool)

denser white plastic eraser that comes in a string pull form or mechanical pencil form

can be sharpened with a knife

best for stubborn marks or working subtractively

pink pearl eraser (dry media drawing tool)

standard general use pink rubber eraser

some can leave pink marks

dry cleaning pad (dry media drawing tool)

small cheesecloth sack filled with a powder that gently removes dirt and smudges from drawings

mahlstick (dry media drawing tool)

dowel stick (usually 36” long)

used as a bridge to rest your hand on so you don’t smudge the drawing

useful with charcoals and pastels

exacto knife (dry media drawing tool)

sharp razor edged knife used for scraping the drawing, sharpening pencils and erasers

fixative spray (dry media drawing tool)

transparent varnish in aerosol cans that is sprayed over drawings to keep them from smudging

workable fixative allows most drawing media to be layers on top of sprayed areas

india ink (wet media)

black carbon in stick and liquid form as well as waterproof and non-waterproof

sumi ink (wet media)

comes in a solid block or stick, traditionally rubbed with water on an ink stone to produce desired intensities

bistre (wet media)

originally prepared from a brown tar solution created by boiling wood soot

sepia (wet media)

originally prepared from a protective brownish-black fluid contained in the sacs of squid

colored inks (wet media)

made of either fugitive (impermanent) dyes or permanent pigments

steel pens (wet media drawing tool)

separable points (nibs) and penpoint holders

best on harder, smooth papers

nibs are numbered (0 being widest, high numbers more narrow)

steel pen nib types: A

flattened square-shaped nib

steel pen nib types: B

flatted round-shaped nib

steel pen nib types: C

chisel-shaped (used in calligraphy)

steel pen nib types: D

flattened oval-shaped, produce variable lines

bamboo reed pen (wet media drawing tool)

creates variable line and dry-brush effects

better for short bold marks

fountain pens (wet media drawing tool)

portable, refillable, pressure-sensitive pens

technical pens (wet media drawing tool)

used for drafting and creating uniform line

interchangeable nibs of varying widths

good for stippling and crosshatching

special inks for technical pens

delicate points

bamboo brushes (wet media drawing tool)

greatest range of flexibility with brush size, pressure, amount of ink, dilution of ink, and angle of brush

brushes (wet media drawing tool)

small to large (low numbers to high numbers)

soft and bristle (stiff) types

round, flats, brights (short flats), filberts (flat, rounded tips)

ink stone (wet media drawing tool)

rectangular sloped-well stone

holds grades of diluted ink for variable tones

used with brushes

invented tools (wet media drawing tool)

sponges, rags, shaped sticks of balsa wood, twigs, twine, or any materials that will absorb liquid

tools may be dragged or stamped in a variety of ways

ball point, felt makers, and nylon tipped pens (wet media drawing tool)

inexpensive and commonly available

may lack permanence

support

surface material a drawing is made on

acid-free papers (drawing supports)

papers that are free of acids

either made of 100% cotton rag fiber or have been chemically treated to obtain a neutral pH

better because: more permanent, less likely to become discolored, less likely to become brittle, less likely to deteriorate

tooth (drawing supports)

texture of the paper (smooth, medium rough, or rough)

series of peaks and valleys that catch the medium

hot press papers: smooth rag papers

cold press papers: medium rough rag papers

rough papers: bumpy rag papers (unpressed)

weight (drawing supports)

thickness and density of paper

indicated in pounds per ream (500 sheets)

ply (drawing supports)

number of bonded layers that constitute a sheet of paper

sizing (drawing supports)

diluted glue either mixed with the paper pulp or applied externally to a finished sheet of paper

inhibits paper’s absorbency

ground (drawing supports)

coating material used to prepare a surface and to make it less absorbent

gesso is the most common used today

necessary in metalpoint drawing

newsprint (commonly used papers)

inexpensive

good for quick sketches in dry media

will discolor quickly

strathmore 400 (commonly used papers)

off-white, 80lb., general-purpose smooth paper, acid-free, 25% rag

good for graphite, conte, and pen and ink

bad for vine charcoal and soft pastel

bristol board (commonly used papers)

plate (very smooth) and regular surfaces, hot and cold press, heavier weight (2-5 ply), available acid-free, white or off-white

cold press good for a variety of media

harder plate surface is good for pen and ink

illustration board (commonly used papers)

heavy weight board, hot and cold press surfaces, available acid-free, white or off-white

cold press good for a variety of media

hot press surface is good for pen and ink

canson mi-teintes (commonly used papers)

variety of colors (felt and steel gray good for heightened drawing), 98lb., acid-free, 65% rag (one side smoother than the other

good for charcoal, pastel, and pencil drawings

rives bfk (commonly used papers)

100% rag, acid-free, soft-sized and available in 77, 118, and 120lb., white and cream, various sizes (large rolls)

good for range of media including charcoal

arches cover (commonly used papers)

100% rag, acid-free, 120lb., various sizes (large rolls), internally sized

good for a range of media including charcoal

arches watercolor paper (commonly used papers)

100% rag, acid-free, various weights (90, 140, 300, and 400lb.), rough, cold-press and hot-press

good for drawing media or combination drawing and painting media

sketch

rapidly made freehand drawing

not usually made as a finished work

drawing

more finished, refined work

how long should a thumbnail sketch take?

2-3 minutes

stages of building and seeing a drawing

1. using a viewfinder, thumbnail sketches

2. organizational line

3. correcting primary shapes with sighting and measuring

4. secondary shapes and proportions within objects

5. details

6. line quality and final presentation

elements of design

basic visual components that form objects

• line

• shape and volume

• value

• texture

• color

• space

• movement/animation

line (element of design)

path left by a moving point

mark left by a pointed tool that is dragged across a surface

actual lines

visible marks on a surface

implied lines

suggested or “felt” lines (not surface marks)

what does line do?

• establishes

  • composition

  • hierarchy of importance

• describes

  • edges and shape

  • movement and energy

  • spatial relationships

  • volume

  • pattern and texture

• conveys emotion

• contributes to aesthetics

shape (element of design)

2D area defined by visible boundaries

volume (element of design)

3D and occupy real space (illusion in drawing)

positive shapes

shapes of objects that occupy space

negative shapes

shapes of empty spaces that surround positive shapes

geometric shapes

created by mathematical laws or measurements (circles, squares, etc.)

man-made shapes

biomorphic shapes

based on life forms that are often curvilinear and irregular

organic shapes

anthropomorphic: based on human form

format shape and size

dimensions and shape of the drawing itself

value (element of design)

relative lightness or darkness of a surface

value’s function

expressive, compositional, descriptive

what does descriptive value do?

defines

• light direction

• volume

• relative values of objects

• textural qualities

• spatial relationships

chiaroscuro

gradual blending of light and shade to create a 3D illusion

categories of light in shading

1. highlight

2. light

3. halftone

4. shadow core

5. reflected light

6. cast shadow

texture (element of design)

tactile quality of a surface or its representation