![]() Since speed was important, loose directional strokes were made during the shading process. Due to the time constraint, the shading and texture are developed rather quickly. In this case, our sketch subject – the elephant – features a textured skin so the value and the texture are developed concurrently. The drawing medium and the surface texture of the paper also plays a role in the creating convincing texture. The relationships of values result in the illusion of texture in a drawing. The relationships of the values inform the viewer of how light behaves on the surface. Texture in a drawing is often developed through value. Since the paper is white, we rely on the paper to influence the lighter values, while using our pencil to develop the dark tones.Īs the value develops through shading, the texture is also addressed. This means we should strive to include the darkest darks and the lightest lights. In nearly every situation, our goal should be to develop a full range of value within the scene. Value, one of the seven elements of art, refers to the darkness or lightness of color. Shading is the process of developing the value within the drawing. Using these two lines as a starting point, I began building each section of the elephant from the top down, continually making visual comparisons. So with just a couple of lines, I knew the height and width of my drawing. I used the height of the elephant to measure this line against. This initial line helps to ensure that the drawing will fit within the picture plane.įrom there, I drew a line for the width of the head, including the ears. First, a light line is drawn from the top of the head to the bottom of the elephant. The drawing begins with a few simple measurements. This is the approach I took with the drawing of the elephant. In other words, I just “go with the flow” and do what feels natural. ![]() Usually, this is not a conscious decision, it just happens. However, for some subjects and compositions, I prefer to work through the layout process by making pure observational comparisons. This approach, commonly referred to as “construction”, allows me to work faster and with better accuracy. These shapes are loosely sketched with many lines as I try to find the larger shape. I look at the overall shape of the subject and visually break this shape down into simpler shapes. Typically, I like to construct a drawing by stacking shapes. ![]()
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