STROKE CONTROL. Ensuring the ability to draw fluid lines, knowing how REAFFIRMATION OF THE LINE.

ION OF THE LINE. When the external shape of the model is completely
to hold a pencil, knowing the variety of strokes and educating hand finished, the stroke is reaffirmed with a much freer and firmer line. For this, it is very
movements are essential to successfully defining the shape in any drawing. important that the first steps have been taken with soft lines that can be easily
corrected.

In the first lace, the stroke is made up of lines made in an impulsive and nervous
manner that the artist puts into practice as a test. This method allows you to draw
several lines, one on top of the other, to describe the profile of the model.
As we move forward we must avoid simultaneous lines; the lines will be firmer and
more decisive and will concretize and define the shapes with greater precision.

Random tracing is one of the first things an amateur artist

should learn, as it allows you to draw several lines, one on
top of the other, to outline the shapes of the model. This
layout is very common in an initial phase of uncertainty.

The inexperienced amateur tends to make a

choppy and discontinuous line, which should be
avoided.

In the practice of drawing it is necessary to control the

line. We must demand a firm, direct and smooth line.

In drawing, stroke control is the result of successive

approximations that leave their mark on the paper after
each pass. The precision of the form is manifested in a Finally, we reinforce the stroke with new thicker lines that allow the
more intense and defining line that appears superimposed model to stand out from the background, while thinner strokes are
on the previous ones. usually reserved for the light areas and interior details of the model,
creating an impression of three-dimensionality.

1
8
THE DOMINION OF THE LINE. Once the fundamental structure of the objects has been resolved, you can begin to
outline the shape, placing more emphasis on the stroke. The secret of a professional stroke lies in the mobility of the
hand together with the forearm, often forming a single piece with it.

TIP INCLINATION. The

shape of the tip and the
position of the drawing utensil
in relation to the paper are
essential to control the quality
of the stroke. Different results
are obtained depending on
whether we draw with the
sharp tip (A), with the worn tip
(B) or with the maximum
degree of inclination (C).

PROFILE AND INTERIOR

SHAPES. These sequential
drawings show how to control the stroke to draw an apple. First, the shape is fitted with a circle (A), then new strokes are superimposed on the
previous ones to finish rounding the profile and outlining the interior shapes (B). The profile is secured with thicker strokes (C), the shape is finished
by incorporating more intense strokes and projecting the shadow (D).

DRAWING ELLIPSES. Many objects are drawn from circles viewed in perspective. Therefore, learning how to draw ellipses is one of those many
needs that the beginning artist must address. To draw a circle we divide a square into four equal parts. As the circle transforms into an ellipse, these
four parts will reduce their height until they become rectangles. This exercise is ideal for drawing the shapes of glasses, vases and plates.

DRAWING ELLIPSES. Here are the most common mistakes made by the
beginning artist, who tend to make the edges of the ellipse too sharp and
pointed or rounded, sausage-shaped. These mistakes should be avoided.

1
9
 NOTEBOOK

INTERIOR LINES. All objects have internal lines that help to fit the drawing or to solve its shape more easily.

Many times, a diagonal line is When the shapes of an object are more complex, we The diagonal line can also be combined
enough to understand the layout can combine straight lines with the intervention of with the axes of symmetry. Here, crossed
of the object we are drawing. simple geometric shapes that help to construct its lines help to construct a chair
profile. proportionally.

There are some internal lines that are incorporated into the drawing to better understand how to draw more complex areas, for example the handle
and nozzle of this seasoning bottle.

2
4
THE PROPORTION. In all models it is possible to draw imaginary lines that correspond to orientations or distances
that facilitate the fitting work and the measurement of proportions. This analytical work is very useful before starting to
plan the final drawing.

A CORRECT PROFILE. The inclusion of an FROM LACE TO DRAWING. When we encounter a complex
object within the frame and the axes of issue, we can approach it in four distinct phases that will allow us
symmetry help to draw a correct and to find a proportionate solution.
symmetrical profile.

First we draw a box that

includes the model inside.
Then we draw the axes of
symmetry that will allow us
to assess the balance of
To draw the profile of an object, in this case a both parts of the drawing.
jug, inside a box, simply reproduce the left
profile of the jug in the two boxes on the right,
in an inverted manner and using each box as
a guideline to fit the shape.

With new lines we study the profile of the model We draw horizontal lines that establish new To draw ornamental elements it is essential to
in relation to the initial box, thus controlling the interior measurements that allow us to work on study the aligned points and compare equal
correct inclination of the semicircular arch. the decorative design. proportions.

2
5
 NOTEBOOK

SELECT INTERESTING FRAMES. We often come across discordant elements that divert our
attention from the main subject and do not add anything interesting to the drawing. To find new
interesting frames, it is advisable to use a frame; we can make this ourselves with two L-shaped
pieces of cardboard.

Here we have a view of a group of houses

with an excessively monotonous, balanced
and uninteresting composition.

The vertical frames highlight the shapes of the buildings much more, even though some facades
appear cut off.
Despite being a centered
and balanced frame, the
dimensioning of the frame
offers a drawing with
greater interest than the
original frame, enhancing
the vertical effect of the
buildings.

From the drawing above we

select a horizontal frame that
offers greater interest.

3
0
THE FRAME. Any frame is, in a way, a selective representation of a subject. Each image is a unique and individual
mode of observation, it is a person's point of view. Sketch drawing offers several systems for carrying out a selection of
shapes, in order to exhaust the visual possibilities. The most common ones are shown below.

EXCLUDE SOME PARTS OF THE DRAWING. There is no rule that requires you to include an element in a drawing just because it is there. If for
compositional or other reasons we have to cut the model or remove elements, we should not hesitate to do so.

THE COUNTERPOINT OF VOID. A very

common framing among anti-academic
artists is the off-center and unbalanced
one. One that shares an area occupied
by the real model with another with a
large empty space that acts as a
counterpoint. This creates a space of
tension of great interest.

Here a frame has been selected including only the In this new selection, part of the hermitage is
hermitage and omitting the other elements. cut out to include the cypresses on the right.

A new frame diverts our interest towards the Sometimes, as we draw a subject, we realize that This vertical format presents the
ground, allowing the empty space of the earth to we are only interested in one part of it. If this model in the lower part of the frame,
“dialogue” with the architectural forms of the happens, we should select a new frame and while the upper part appears empty,
hermitage façade. ignore the rest. From there we will draw a note only resolved with a gradient.
that will allow us to work on the topic in greater
depth.

3
1
THE GEOMETRIC METHODOLOGY. When drawing an object from nature, we
sometimes have to simulate the sensation of depth produced by sight with the help of
intuitive perspective or a certain geometric methodology. We must become familiar with
the graphic language of the geometric representation of three-dimensional shapes in the
different projection systems and their application in the drawing of sketches and
freehand perspectives of the same.

If we have trouble drawing a reclining

object that presents clear perspective
effects or foreshortening, the easiest
thing is to enclose it in a box. Thanks to
this box that we use as a guide we can
draw the object from any position.

This imaginary box defines and

synthesizes the three-dimensional
effect of the object. Changing the
point of view and rotating the box
will allow you to draw the target
without losing the perspective effect
at any time.

3
8
THE FORESHORSE. It is the influence of the perspective effect on an object that is heading directly towards us. This
provides a very obvious contrast in scale between the closest and the farthest part. It manifests itself in the way of
representing an object in such a way that it is arranged perpendicularly and obliquely with respect to the viewer's point
of view.

OVERSIZED PARTS. The art of foreshortening consists of representing an object from points of view where the dimensions are modified by
perspective. This effect produces an enlargement of the forms that come closer to the viewer, in a manner premeditated by the artist, to accentuate
the perspective effect on the model.

Foreshortening alters the proportional relationship of an object. A foreshortened jersey will show the part closest to us oversized; in this case, the
sleeve is larger, altered by perspective.

The same thing happens with

a tree that has a branch that
visually advances towards us.
Knowing this circumstance,
this branch should be falsely
enlarged in relation to the
others.

In drawing the human figure it

is common to find
foreshortening effects in some
parts of the body. It is usually a
leg or an arm that appears
oversized, deformed, to give
the impression that they are
approaching the viewer.

3
9
 NOTEBOOK

SCALE OF VALUES. A widely used method today, in the first steps to raise awareness and acquire the mastery to draw a wide range of values,
consists of making gray scales with different techniques. The more shaded a subject is, the greater the distance between black and white, that is, the
greater the number of different values it will contain.

To ensure the quality of shading in our drawings, we should practice wide tonal scales.

The original painting Visit to the Foundry by Léonard

Defrance (Museum of Walloon Art in Liège) has been
reduced to a monochrome study made with six values.
THE VALUES. Up to this point we have used various terms to talk about lights and shadows: degrees, intensities,
tones, etc. All these words refer to the same visible reality, which is the different appearance of lights and shadows in a
drawing, some lighter and others darker. From now on, to avoid misunderstandings, we will use a single concept:
“value.” A shaded drawing is made up of different values and each of them represents a degree of light or shadow.

After what has been explained above, it is interesting to make abstract compositions from notes, where we will only take into consideration the
shadow and midtone areas. The treatment will be very geometric and without any
definition. Let's look at some examples.

An ideal exercise is to draw different values of chiaroscuro of the shapes that surround
the model, without using lines to outline them. We simply have to direct the tone or

Here is a series of ordered

tonal values made with
graphite and sanguine. These
shading along the contour of the body. samples show various
intensities of tone that help us
assess the hardness and
quality of the medium. When
drawing, it is convenient to
Once we have a clear idea of the concept of values, alternate different lead
we venture to carry out simple exercises like this one, hardnesses in the same
which consists of giving a relief effect to a sphere with drawing.
the contribution of shading. In a first phase we greyed
out the sphere and projected the shadow with very soft

and dim shading. In a second state we intensify the

shadows that present the profile of a half moon on the
sphere and an ellipse in the projected shadow (B).

5
1
 NOTEBOOK

ENVELOPING LINES. The lines must explain the shape of the object at all times. If these
are oriented in the same direction as the surface of the object, we will enhance its
volumetric effect.

If we insist on the
enveloping lines creating
The shading is applied various values we can
in the form of spiral give a more blurred effect
strokes that wrap to the profile of the
around the bottle. A object, and provide, in an
simple shading with unintentional way, a
circular strokes is rotating kinetic effect to
enough to suggest the the model.
corporeality of the
object.

THE DIRECTION OF THE SHADOW. In drawing, it is advisable to emphasize the light

effects that are observed, even exaggerating them. We can also mark the direction of the
shadow.
However, if what we want
is to cast the shadow
projected by the object,
giving it more strength and
relevance, we must show
the most intense strokes
and underline its
projection.

On smooth surfaces the

shadow should show a
straight path. If the
projected shadow is going
to be diffuse, the same
shading, using almost no
pressure with the pencil,
can be repeated.

6
2
MODELING. Since light is an insubstantial medium, we must carefully analyze the effects it produces on objects and
surfaces and investigate the possibilities offered by drawing materials to describe them. When these light changes are
smooth, a modeling effect is produced that helps explain the volume of the object.

MODELING SPHERICAL SHAPES. Shadows cast by objects and those describing a change of plane, especially when
dealing with a rigid surface, tend to have very defined contours; on the other hand, shadows that describe spherical
shapes, soft materials and textures with little relief project more subtle light and shadow.

In the graphic vocabulary

of art, the line is very
important because it
defines volumes and,
above all, establishes a
To shade a sphere, it is sense of direction or
best to work with impulse, tensions and
overlapping curved reactions, spatial
strokes that help explain cadences or a feeling of
the spherical shape of the rest.
model.

The pencil hatching prior to the blurred modelling does not occupy the The blurring effect is also achieved with soft strokes, practiced with little
entire area planned for said future stain. The area where the final stain is pressure. And with the absence of profiling lines. The shape of the apple
going to be very light is not touched with the pencil, since, later, it will be is drawn thanks to the contrast effect of the stroke patterns.
the blending stump that extends the graphite to that part.

6
3
 NOTEBOOK

SUBSTANTIAL DIFFERENCE IN TONE. The basis of any contrast is the obvious difference between two tonal areas. These areas must have firm, clear boundaries,
without any gradients, blends or blurring. The greater the tonal difference, the greater the contrast will be produced.

Contrast is not only achieved with Contrast is not only achieved with
shading. The direction or intention of a shading. The direction or intention of a
line pattern is sufficient to differentiate line pattern is sufficient to differentiate
two tonal zones. In this case, the two tonal zones. In this case, the
horizontal lines of the table contrast horizontal lines of the table contrast
with the vertical lines of the box. with the vertical lines of the box.

The contrast effect in a model is achieved by clearly

differentiating two areas of different tones. If the shading is
soft, the contrast is pleasant and not harsh.

—3
A bright, brightly lit object produces maximum contrast when placed against a■
completely dark background. In this case the profiles are cut out sharply.
The same thing happens when the object is cut out against a light background.

7
0
THE CONTRAST. Representing light contrasts will help you define and clarify the patterns in your drawings. In fact, it is
essential that you learn to explore, distort and exaggerate the effect of contrasts in your drawings to provoke better
identification of the object or greater separation between terms.

THE SHADOW SURROUNDS THE OBJECT. When an object does not stand out enough from the background, it is common to use shading around
it to make it more visible. Many times this shading does not correspond to the real model; it is a resource used by the artist to create greater contrast.

Darkening the outline of an object to allow it to stand out even more from the background is a very common resource among artists.

To highlight an object, it is not

necessary to make the line that
draws its outline thicker, it is
enough to darken the shadow
around it.

Working on a uniform mid-tone background allows us to

play with whites while darkening the shadows of the object
as much as possible so that its silhouette is drawn by
contrast.

7
1
 NOTEBOOK

DISCOLORATION OF TERMS. There are a series of resources that allow the third dimension to be enhanced in the drawing by contrasting the first
terms and fading the more distant ones. Thus, the depth effect is an optical illusion that is derived from representing the water vapor contained in the
atmosphere.

To achieve the effect of an interposed

atmosphere, we bleached the most distant
mountains and blurred them with a
blending stump. Think that when we look
at a close-up plane our eyes blur the more
distant planes.

The oriental technique of representing The “Coulisse” effect is one of the most
depth is achieved through a succession used to draw the succession of different
of planes resolved with gradients, darker planes. Simply draw each term with a
at the top and lighter at the bottom. We uniform tone, which will become lighter as
left the bottom part of each mountain's you move away.
gradient white to simulate the clouds that
cover the base of each mountain.

8
2
DIFFERENT PLANS. Our eyes are accustomed to defining pictorial space in terms of foreground, middle ground and
background or distance. Thanks to some notions of perspective and atmospheric resources, it is possible to represent
the depth and differentiation of each of these planes in the drawing. Next, we will study the resources most used by the
professional artist.

DEPTH IN COMPOSITION. The effect of depth is not only achieved by the fading of terms, but also the choice of framing and the alteration of the
composition of the painting to enhance the sense of perspective contribute to this effect.

If we place a highlighted Line thickness is critical to

foreground with a conveying distance in a
noticeable change in drawing. Note how in this
luminosity, that is, a strong experiment, carried out with
contrast with respect to the a zigzag line of decreasing
background, we manage to thickness, the thicker, more
enhance the effect of depth intense line appears closer
in the drawing. than the thinner, fainter one
which appears to be moving
away from the viewer.

When composing a Just as composition can

landscape we can modify show the effect of depth, so
the masses to encourage can the control of the
them to converge at a direction of the lines if they
point on the horizon. This converge in the same place
convergence draws the on the horizon line.
viewer's gaze towards the
background of the
painting.

8
3
 NOTEBOOK

THE GEOMETRIC STRUCTURE. In drawings, the sensation of depth is basically achieved through the use of graphic or linear resources that help
us discover the geometric structure and the laws that govern the layout of drawings made in perspective.

The simplest perspective system is based on a single vanishing Oblique perspective is another of the perspective representations most
point located above the horizon line. Diagonal lines that point used by the draftsman. Its construction is based on two equidistant
toward the back of the space tend to converge at that point, and vanishing points located on the horizon line. This perspective is the most
lines that are visually vertical remain vertical. appropriate for representing corners or two facades of the same building.

CHANGES IN POINT OF VIEW. The position

that the viewer adopts in relation to the model is
decisive in choosing one perspective or another.

By shifting the observation point relative to the

9
2
object, the perspective changes, and what could be an oblique perspective in cases where the model is closer to the horizon line, becomes an aerial
perspective in the last representation on the right.

9
3
PERSPECTIVE TRICKS. When a model is difficult to draw and we want to achieve the most realistic representation of
it, we must indicate on the lace all those lines that help to better represent the space. In this sense, the principles of
perspective are very useful to correctly draw these lines.

The relative sizes of figures located in different positions are solved by projecting two
diagonals that emerge from a vanishing point on the horizon. If we draw a
perpendicular line that cuts these lines, we will have the height of each figure
according to the distance. The figures shown here are observed from an elevated
point of view to facilitate understanding of the exercise.

Here we see the size relationship between figures located on different planes, although, unlike the previous example, they are at the height of the

If we place several identical objects next to each other

in perspective, with distance they decrease in size and
so does the distance between them. One way to check
this effect is to draw an avenue with trees planted on
both sides.

9
4
viewer. The vanishing lines are crucial to indicate the height of each figure in different terms.

9
5
 NOTEBOOK

SHARPNESS OF TEXTURE. A textured object appears sharp in the foreground, while with distance the planes lose definition and present a more
blurred and diffuse texture.

9
6
 When an object is in the foreground, close to the
viewer, the profiles are very sharp and contrasted;
on the other hand, as the line of the drawing moves
away it becomes increasingly thinner until it
becomes a simple unfinished stroke at a greater
distance.

To represent the texture of paving stones in perspective, we To draw the texture of the vegetation, we represent the grass in the
progressively reduce the dimensions of each row as they move foreground with marked, well-differentiated strokes; we resolve the
further away. At the same time, the pressure exerted with the middle ground with a softer drawing and with greater intervals of
pencil decreases until any trace in the distance disappears. white; in the last term all definition is lost and we apply only one tone.

9
7
PERSPECTIVES OF TEXTURES. A careful observation of the landscape helps to confirm that with distance, shapes
become blurred and the precise boundaries that separate different elements from each other are lost. Something similar
happens with surfaces that have a strong texture. The graphic equivalent of the atmosphere interposed in purely linear
drawing lies in the degradation or dissipation of the edges or profiles of distant objects, which can be drawn with a weak
continuous line, discontinuous or dotted.

SHARPNESS OF TEXTURE. A textured object appears sharp in the

foreground, while with distance the planes lose definition and present a
more blurred and diffuse texture.

The stroke pattern of a first term should be built with thicker,

more intense lines. As the terms move further apart, these

The distance between

the different plot lines
also contributes to
creating distance. In the
foreground the patterns
are tighter while in the
distance they open up
more, leaving more white
space between the lines.

lines will decrease in intensity. This landscape has been worked as a backdrop, there are four
Here is a practical application of what has been stated above. terms clearly differentiated by the variety of plots.

9
8
99