Studied by 4 people
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
using a viewfinder, thumbnail sketches
organizational line
correcting primary shapes with sighting and measuring
secondary shapes and proportions within objects
details
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
highlight
light
halftone
shadow core
reflected light
cast shadow
texture (element of design)
tactile quality of a surface or its representation
Note 
Flashcard (36)