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 The Elements are the building blocks used to create a work of art. Good
 The Elements are the building blocks used to create a work of art. Good
 The Elements are the building blocks used to create a work of art. Good

The Elements are the building blocks used to create a work of art. Good or bad - all graphic

design work or paintings will contain most of if not

all, the seven elements of design.

The Principles of design can be thought of as what we do to the elements of design. How we apply the

Principles of design determines how successful we

are in creating a work of art.

Visual elements of composition:  Point  Line  Plane or shape  Value or
Visual elements of composition:  Point  Line  Plane or shape  Value or
Visual elements of composition:  Point  Line  Plane or shape  Value or

Visual elements of composition:

Point

Line

Plane or shape

Value or tone Texture

Volume or form

Colour

Point A point marks position in space. It has no mass at all. Graphically a

Point

A point marks position in space. It has no mass at

all. Graphically a point

takes form as a dot, a

visible mark.

A point can be an

insignificant fleck of a

matter or concentrated

locus of power.

takes form as a dot, a visible mark. A point can be an insignificant fleck of
takes form as a dot, a visible mark. A point can be an insignificant fleck of

Point

Point
Point
Point
LINE A line is the track made by the moving point… W. Kandinsky A line

LINE

A line is the track made by the moving point…

W. Kandinsky

A line is an infinite series of points. It is the connection

between two points, or it is the path of a moving point. A line

can be a positive mark or

negative gap. Lines appear at

the edges of objects and where

two planes meet. Lines are drawn with a pen, pencil, brush, mouse or digital code.

at the edges of objects and where two planes meet. Lines are drawn with a pen,
at the edges of objects and where two planes meet. Lines are drawn with a pen,
LINE

LINE

LINE
LINE
LINE

LINE

LINE
LINE
LINE

LINE

LINE
LINE
LINE

LINE

LINE
LINE
LINE
LINE
LINE

LINE

LINE
LINE

LINE

LINE
LINE
LINE Example of expressive possibilities of pure line. Calligraphy is the art of fine writing,

LINE

LINE Example of expressive possibilities of pure line. Calligraphy is the art of fine writing, so

Example of expressive possibilities of pure line.

LINE Example of expressive possibilities of pure line. Calligraphy is the art of fine writing, so
LINE Example of expressive possibilities of pure line. Calligraphy is the art of fine writing, so

Calligraphy is the art of fine writing, so highly developed in Arabic cultures, Japan and China.

LINE

LINE

LINE
LINE
LINE Christo – the 24-mile (39 km)-long artwork Running Fence, Sonoma, California Edges may be
LINE Christo – the 24-mile (39 km)-long artwork Running Fence, Sonoma, California Edges may be
LINE Christo – the 24-mile (39 km)-long artwork Running Fence, Sonoma, California Edges may be

LINE

LINE Christo – the 24-mile (39 km)-long artwork Running Fence, Sonoma, California Edges may be read

Christo the 24-mile (39 km)-long artwork Running Fence, Sonoma, California

Edges may be read as lines

in 3D as well as 2D works

LINE
LINE
LINE The reclining rocking chair suggests, by its long, flowing lines, the restful feeling that one

The reclining rocking chair suggests, by its long, flowing lines, the restful feeling that one expects to experience when lying in the chair. As the lines flow thought the lengthened curves, it is difficult to follow the single line, rather, we are visually drawn into the abstract expressive quality of the lines.

LINE typographic illustration

LINE typographic illustration
LINE typographic illustration
Plane or Shape A plane is a flat surface extending in height and width. A

Plane or Shape

Plane or Shape A plane is a flat surface extending in height and width. A plane

A plane is a flat surface extending in height

and width. A plane is the path of moving line.

A line closes to become a shape, a bounded plane. Shapes are planes with edges. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated, textured or smooth.

edges. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated,
edges. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated,
edges. Ceilings, walls, floors, and windows are physical planes. A plane can be solid or perforated,
Plane or Shape

Plane or Shape

Plane or Shape
Plane or Shape
Plane or Shape

Plane or Shape

Plane or Shape

Plane or Shape typographic illustration

Plane or Shape typographic illustration
Plane or Shape typographic illustration
SHAPE (2D areas, flat) A shape is a self contained defined area of geometric or
SHAPE (2D areas, flat) A shape is a self contained defined area of geometric or

SHAPE (2D areas, flat)

A shape is a self contained defined area of geometric or

organic form. A positive shape

in a painting automatically creates a negative shape.

defined area of geometric or organic form. A positive shape in a painting automatically creates a
SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape
SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape
SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape

SHAPE (2D areas, flat)

A positive shape in a painting automatically creates a negative shape.

SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape .
SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape
SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape

SHAPE (2D areas, flat)

A positive shape in a painting automatically creates a negative shape.

SHAPE (2D areas, flat) A positive shape in a painting automatically creates a negative shape .
VALUE or TONE …the relative lightness or darkness of an area. Values are most easily

VALUE or TONE

VALUE or TONE …the relative lightness or darkness of an area. Values are most easily perceived

…the relative lightness or darkness of an area. Values are most easily perceived when colour hues are subtracted. Black and white photographs of coloured artworks translate hues into a range of grays from very dark to very light.

Black and white photographs of coloured artworks translate hues into a range of grays from very
VALUE or TONE Black and white photographs of coloured artworks translate hues into a range

VALUE or TONE

Black and white photographs of coloured artworks translate hues into a range of grays from very dark to very light.

coloured artworks translate hues into a range of grays from very dark to very light. Caravaggio
coloured artworks translate hues into a range of grays from very dark to very light. Caravaggio

Caravaggio The Fortune Teller

coloured artworks translate hues into a range of grays from very dark to very light. Caravaggio

VALUE or TONE typographic illustration

VALUE or TONE typographic illustration
VALUE or TONE typographic illustration
VALUE or TONE typographic illustration
TEXTURE Texture is the surface quality of a shape - rough, smooth, soft, hard, glossy
TEXTURE Texture is the surface quality of a shape - rough, smooth, soft, hard, glossy

TEXTURE

Texture is the surface quality of a shape - rough, smooth,

soft, hard, glossy etc.

Texture can be physical (tactile) or visual.

From experience in the world, we are quite familiar with

great range of textural

qualities: coarse, slimy, bristly, smooth , furry,

matted, scratchy, wrinkled,

and so on.

with great range of textural qualities: coarse, slimy, bristly, smooth , furry, matted, scratchy, wrinkled, and
TEXTURE

TEXTURE

TEXTURE

TEXTURE typographic illustration

TEXTURE typographic illustration
TEXTURE typographic illustration
TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane
TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane

TEXTURE

Texture can be physical (tactile) or visual.

TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane

Rendering a drawing plane

TEXTURE

Texture can be physical (tactile) or visual.

Rendering a drawing plane

TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane
TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane
TEXTURE Texture can be physical (tactile) or visual. Rendering a drawing plane
TEXTURE lengths to capture the visual extreme attention to detail in
TEXTURE
lengths to capture the visual
extreme attention to detail in

effects of textures. One of the masters in this respect is

Dominique Ingres. In his Portrait of the Princesse de

is Dominique Ingres . In his Portrait of the Princesse de Certain artists have gone to

Certain artists have gone to great

Broglie, the facial skin and hair

are rather stylized and simplified, in dramatic contrast to the

rendering textures of the fabrics. The lush satiny dress fabric is so

realistically painted that we can guess exactly how it feels.

VOLUME or FORM The volume of any solid, liquid, plasma, vacuum or theoretical object is
VOLUME or FORM The volume of any solid, liquid, plasma, vacuum or theoretical object is

VOLUME or FORM

The volume of any solid, liquid, plasma, vacuum or

theoretical object is how

much three-dimensional space it occupies, often quantified numerically.

One-dimensional figures (such as lines) and two- dimensional shapes (such

as squares) are assigned

zero volume in the three- dimensional space.

VOLUME or FORM
VOLUME or FORM

VOLUME or FORM

VOLUME or FORM
VOLUME or FORM Although term ‘VOLUME’ and ‘FORM’ apply to 3D objects, sometimes two-dimensional works

VOLUME or FORM

Although term ‘VOLUME’ and

‘FORM’ apply to 3D objects,

sometimes two-dimensional

works may create on flat surface

the illusion of forms. In many three-dimensional works,

distinguish both outer, or

PRIMARY CONTOURS and SECONDARY CONTOURS

developed within the primary

contours. Often the primary contour is the outline that allows

us to identify the subject of the

work, if it is representational.

identify the subject of the work, if it is representational. In the ancient Fish from Vettersfelde,
identify the subject of the work, if it is representational. In the ancient Fish from Vettersfelde,

In the ancient Fish from Vettersfelde, found in Germany, primary contour is the shape of

a fish. The secondary contours are the

raised and engraved areas across the body.

COLOUR

COLOUR

COLOUR
COLOUR
COLOUR
COLOUR
BALANCE
BALANCE

Balance is a fundamental human condition: we require physical balance to stand upright and walk; we seek balance among the many facets of our personal and professional lives.

In design, balance acts as a catalyst for form it anchors and

activates elements in space.

and professional lives. In design, balance acts as a catalyst for form – it anchors and
BALANCE Balance implies that the visual elements within the frame have a sense of weight.

BALANCE

BALANCE Balance implies that the visual elements within the frame have a sense of weight. Large
BALANCE Balance implies that the visual elements within the frame have a sense of weight. Large

Balance implies that the visual elements within the frame have a

sense of weight. Large objects generally weigh more than small objects and dark objects weigh more than light colored objects. The

position of the elements is also critical. We unconsciously assume

the center of a picture corresponds to a fulcrum. A heavy weight on one side can be balanced by a lighter weight on the other side if the

lighter weight is located at a greater distance from the fulcrum.

BALANCE Balance in design is similar to balance in physics A large shape close to

BALANCE

Balance in design is similar to balance in physics

BALANCE Balance in design is similar to balance in physics A large shape close to the
BALANCE Balance in design is similar to balance in physics A large shape close to the

A large shape close to the center can be balanced by a small shape close to the edge.

A large light toned shape will be balanced by a small dark toned

shape (the darker the shape the heavier it appears to be)

BALANCE There are three different types of balance: - symmetrical - asymmetrical - radial
BALANCE There are three different types of balance: - symmetrical - asymmetrical - radial

BALANCE

There are three

different types of

balance:

- symmetrical

- asymmetrical

- radial

BALANCE There are three different types of balance: - symmetrical - asymmetrical - radial

BALANCE typographic illustration

BALANCE typographic illustration
BALANCE typographic illustration
REPETITION or PATTERN Repeating visual elements such as line, color, shape, texture, value or image

REPETITION or PATTERN

REPETITION or PATTERN Repeating visual elements such as line, color, shape, texture, value or image tends

Repeating visual elements

such as line, color, shape,

texture, value or image

tends to unify the total effect of a work of art as

well as create rhythm.

Repetition can take the

form of an exact duplication

(pattern), a near duplication, or duplication with variety.

. Repetition can take the form of an exact duplication ( pattern ), a near duplication,

REPETITION or PATTERN

REPETITION or PATTERN
REPETITION or PATTERN

REPETITION or PATTERN

REPETITION or PATTERN
REPETITION or PATTERN
Repetition without variation appears dull and monotonous
Repetition without variation appears dull and monotonous

Repetition without variation appears dull and monotonous

Repetition with variation appears stimulating and visually attractive
Repetition with variation appears stimulating and visually attractive

Repetition with variation appears stimulating and visually attractive

REPETITION or PATTERN

REPETITION or PATTERN

REPETITION or PATTERN
REPETITION or PATTERN
GRADATION Gradation of size and direction produce linear perspective. Gradation of colour from warm to
GRADATION Gradation of size and direction produce linear perspective. Gradation of colour from warm to
GRADATION Gradation of size and direction produce linear perspective. Gradation of colour from warm to

GRADATION

Gradation of size and direction produce linear perspective. Gradation of

colour from warm to cool and

tone from dark to light produce aerial perspective.

Gradation can add interest

and movement to a shape.

A gradation from dark to light will cause the eye to move along a shape.

GRADATION

GRADATION

GRADATION
GRADATION
CONTRAST Contrast is the combination of opposing elements e.g. opposite colours on the colour wheel

CONTRAST

CONTRAST Contrast is the combination of opposing elements e.g. opposite colours on the colour wheel -

Contrast is the combination of opposing elements e.g. opposite colours on the colour wheel - red / green, blue / orange etc.

Contrast in tone or value - light / dark.

Contrast in direction - horizontal / vertical. The major contrast in a painting should be located at the center of

interest.

Too much contrast scattered throughout a painting can destroy unity and make a work difficult to look at. Unless a feeling of chaos

and confusion are what you are seeking, it is a good idea to

carefully consider where to place your areas of maximum contrast.

CONTRAST

CONTRAST

CONTRAST
CONTRAST
CONTRAST
CONTRAST
CONTRAST

CONTRAST

CONTRAST
CONTRAST

Contrast enhances appearance

Contrast enhances appearance
Contrast enhances appearance
DOMINANCE Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to
DOMINANCE Dominance gives a painting interest, counteracting confusion and monotony. Dominance can be applied to

DOMINANCE

Dominance gives a painting interest, counteracting confusion and monotony.

Dominance can be applied to one or more of

the elements to give

emphasis.

interest, counteracting confusion and monotony. Dominance can be applied to one or more of the elements
DOMINANCE
DOMINANCE

DOMINANCE

DOMINANCE
UNITY Relating the design elements to the idea being expressed in a painting reinforces the

UNITY

UNITY Relating the design elements to the idea being expressed in a painting reinforces the principal

Relating the design elements to the idea being

expressed in a painting reinforces the principal of unity;

e.g. a painting with an active aggressive subject would work better with a dominant oblique direction, course, rough texture, angular lines etc. whereas a quiet passive subject would benefit from horizontal lines, soft

texture and less tonal contrast.

Unity in a painting also refers to the visual linking of

various elements of the work.

UNITY

UNITY

UNITY
UNITY
HARMONY Harmony in painting is the visually satisfying effect of combining similar, related elements, e.g.

HARMONY

HARMONY Harmony in painting is the visually satisfying effect of combining similar, related elements, e.g. adjacent

Harmony in painting is the visually satisfying effect of combining similar, related elements, e.g. adjacent

colours on the colour wheel, similar shapes etc.

satisfying effect of combining similar, related elements, e.g. adjacent colours on the colour wheel, similar shapes
HARMONY Harmony: brings together a composition with similar units. If your composition was using wavy

HARMONY

Harmony: brings together a composition with similar units. If your composition

was using wavy lines and

organic shapes you would stay with those types of lines

and not put in just one

geometric shape. (Notice how similar Harmony is to

Unity).

would stay with those types of lines and not put in just one geometric shape. (Notice
would stay with those types of lines and not put in just one geometric shape. (Notice
would stay with those types of lines and not put in just one geometric shape. (Notice
PROPORTION or SIZE Proportion refers the size relationship of visual elements to each other and

PROPORTION or SIZE

PROPORTION or SIZE Proportion refers the size relationship of visual elements to each other and to

Proportion refers the size relationship of visual elements to

each other and to the whole picture. One of the reasons

proportion is often considered important in composition is that viewers respond to it emotionally. Proportion in art has been

examined for hundreds of years. One proportion that is often

cited as occurring frequently in design is the Golden mean or Golden ratio.

PROPORTION or SIZE

PROPORTION or SIZE
PROPORTION or SIZE

PROPORTION or SIZE

PROPORTION or SIZE
PROPORTION or SIZE

13, 21,

13, 21, PROPORTION Golden Ratio: 1, 1, 2, 3, 5, 8, 34 etc. Each succeeding number
13, 21, PROPORTION Golden Ratio: 1, 1, 2, 3, 5, 8, 34 etc. Each succeeding number
13, 21, PROPORTION Golden Ratio: 1, 1, 2, 3, 5, 8, 34 etc. Each succeeding number
13, 21, PROPORTION Golden Ratio: 1, 1, 2, 3, 5, 8, 34 etc. Each succeeding number

PROPORTION

Golden Ratio: 1, 1, 2, 3, 5, 8,

34 etc. Each succeeding number

after 1 is equal to the sum of the two preceding numbers. The Ratio

formed 1:1.618 is called the golden

mean - the ratio of bc to ab is the same as ab to ac. If you divide each

smaller window again with the same

ratio and joining their corners you end up with a logarithmic spiral. This

spiral is a motif found frequently

throughout nature in shells, horns and flowers.

PROPORTION Many artists are aware of the rule of thirds, where a picture is divided

PROPORTION

PROPORTION Many artists are aware of the rule of thirds, where a picture is divided into

Many artists are aware of the rule of thirds, where a picture is divided

into three sections vertically and horizontally and lines and points of intersection represent places to position important visual elements.

Moving a horizon in a landscape to the position of one third is often

more effective than placing it in the middle, but it could also be placed

near the bottom one quarter or sixth. There is nothing obligatory about

applying the rule of thirds. In placing visual elements for effective composition, one must assess many factors including color,

dominance, size and balance together with proportion.

PROPORTION

PROPORTION

PROPORTION
PROPORTION
PROPORTION
PROPORTION

PROPORTION

PROPORTION
DIRECTION All lines have direction – Horizontal, Vertical or Oblique. Horizontal suggests calmness, stability and

DIRECTION

All lines have direction

Horizontal, Vertical or

Oblique. Horizontal

suggests calmness,

stability and tranquility.

Vertical gives a feeling of balance, formality

and alertness. Oblique

suggests movement

and action.

and tranquility. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action.
and tranquility. Vertical gives a feeling of balance, formality and alertness. Oblique suggests movement and action.
MONOCHROMATIC Having or appearing to have only one color or composed of radiation of only

MONOCHROMATIC

MONOCHROMATIC Having or appearing to have only one color or composed of radiation of only one
MONOCHROMATIC Having or appearing to have only one color or composed of radiation of only one

Having or appearing to have

only one color or composed of radiation of only one

wavelength: monochromatic

light.

Red Square Composition

MONOCHROMATIC
MONOCHROMATIC

MONOCHROMATIC

MONOCHROMATIC
MONOCHROMATIC
MONOCHROMATIC
MONOCHROMATIC
MONOCHROMATIC

MONOCHROMATIC

MONOCHROMATIC
MONOCHROMATIC
POLY CHRO MATIC Having or exhibiting many colors, or composed of radiation of more than

POLYCHROMATIC

POLY CHRO MATIC Having or exhibiting many colors, or composed of radiation of more than one
POLY CHRO MATIC Having or exhibiting many colors, or composed of radiation of more than one

Having or exhibiting many colors, or composed of radiation of more than one wavelength:

polychromatic light.

Klee, Paul-Red_Balloon-1922

POLY CHRO MATIC Kandinsky, Composition VII

POLYCHROMATIC

POLY CHRO MATIC Kandinsky, Composition VII
POLY CHRO MATIC Kandinsky, Composition VII
POLY CHRO MATIC cd cover magazine add

POLYCHROMATIC

POLY CHRO MATIC cd cover magazine add

cd cover

POLY CHRO MATIC cd cover magazine add
POLY CHRO MATIC cd cover magazine add

magazine add

STATIC "static" has nothing to do with electricity -- it simply means unmoving, or without

STATIC

STATIC "static" has nothing to do with electricity -- it simply means unmoving, or without force.

"static" has nothing to do

with electricity -- it simply

means unmoving, or

without force. By contrast,

"dynamic" means forceful,

or moving.

Static composition in a

picture is quite often

centered and almost

always well balanced.

Mondrian Composition

Static composition in a picture is quite often centered and almost always well balanced. Mondrian –
STATIC Rafael – Portrait of Baldassare Castiglione

STATIC

STATIC Rafael – Portrait of Baldassare Castiglione
STATIC Rafael – Portrait of Baldassare Castiglione

Rafael Portrait of Baldassare Castiglione

STATIC Rafael – Portrait of Baldassare Castiglione
STATIC Rafael – Portrait of Baldassare Castiglione
STATIC annual report poster

STATIC

STATIC annual report poster

annual report

STATIC annual report poster

poster

STATIC annual report poster
DYNAMIC Delacroix - Liberty Leading the People
DYNAMIC Delacroix - Liberty Leading the People
DYNAMIC Delacroix - Liberty Leading the People

DYNAMIC

Delacroix - Liberty Leading the People

DYNAMIC Salvatore Dali -tuna - polychromatic, dynamic,

DYNAMIC

DYNAMIC Salvatore Dali -tuna - polychromatic, dynamic,
DYNAMIC Salvatore Dali -tuna - polychromatic, dynamic,

Salvatore Dali

-tuna - polychromatic, dynamic,

DYNAMIC
DYNAMIC

DYNAMIC

DYNAMIC
DYNAMIC
DYNAMIC double spread Apicrop annual report cover

DYNAMIC

DYNAMIC double spread Apicrop annual report cover
DYNAMIC double spread Apicrop annual report cover

double spread

Apicrop annual report cover

DYNAMIC double spread Apicrop annual report cover
OPEN
OPEN
OPEN OPEN Objects, shapes, colour and value extend beyond picture plane/shape boundaries. CLOSED

OPEN

Objects, shapes, colour and

value extend beyond picture plane/shape boundaries.

OPEN OPEN Objects, shapes, colour and value extend beyond picture plane/shape boundaries. CLOSED

CLOSED

OPEN OPEN Objects, shapes, colour and value extend beyond picture plane/shape boundaries. CLOSED
OPEN

OPEN

OPEN
OPEN
OPEN
OPEN Wassily Kandinsky – Composition V

OPEN

OPEN Wassily Kandinsky – Composition V
OPEN Wassily Kandinsky – Composition V
OPEN Matisse – Fruit and Coffee

OPEN

OPEN Matisse – Fruit and Coffee

Matisse Fruit and Coffee

OPEN Matisse – Fruit and Coffee
OPEN Edggar Degas - Dancer adjusting her shoe
OPEN Edggar Degas - Dancer adjusting her shoe

OPEN

OPEN Edggar Degas - Dancer adjusting her shoe

Edggar Degas-

Dancer adjusting

her shoe

CLOSED Vincent Van Gogh - Sunflowers

CLOSED

CLOSED Vincent Van Gogh - Sunflowers

Vincent Van Gogh - Sunflowers

CLOSED Vincent Van Gogh - Sunflowers
CLOSED Claude Monet – Madame Monet and Son

CLOSED

CLOSED Claude Monet – Madame Monet and Son

Claude Monet Madame Monet and Son

CLOSED E.C. Tarbell – Three Sisters
CLOSED E.C. Tarbell – Three Sisters

CLOSED

E.C. Tarbell Three Sisters

CLOSED E.C. Tarbell – Three Sisters
A. Durer - Head of an Angel 1506 Brush drawing on blue Venetian paper, 270

A. Durer - Head of an Angel 1506

Brush drawing on blue Venetian paper, 270 x 208 mm, Vienna

Brush drawing on blue Venetian paper, 270 x 208 mm, Vienna LINE The technique of the

LINE

drawing on blue Venetian paper, 270 x 208 mm, Vienna LINE The technique of the brush

The technique of the brush

drawing with white highlights on blue paper was one Dürer

became acquainted with in

Venice. The interplay of white and dark parallel and cross-

hatchings which gently follow

the curves of the face create the plastic effect of the light

and dark shades.

LINE Albrecht Durer - Study of Drapery Brush drawing on a dark ground with white
LINE Albrecht Durer - Study of Drapery Brush drawing on a dark ground with white

LINE

LINE Albrecht Durer - Study of Drapery Brush drawing on a dark ground with white highlight,

Albrecht Durer - Study of Drapery

Brush drawing on a dark ground with white highlight, 400 x

235 mm

Staatliche Museen, Berlin

LINE Albrecht Durer – Hands Study
LINE Albrecht Durer – Hands Study

LINE

LINE Albrecht Durer – Hands Study

Albrecht Durer Hands Study

LINE
LINE

LINE

LINE
LINE
LINE

Rembrandt van Rijn - A Woman Sleeping paint brush

drawing - 1655

Rembrandt van Rijn - A Woman Sleeping – paint brush drawing - 1655 LINE

LINE

Rembrandt van Rijn - A Woman Sleeping – paint brush drawing - 1655 LINE
Rembrandt van Rijn - A Woman Sleeping – paint brush drawing - 1655 LINE
LINE Carp – paint brush drawing
LINE Carp – paint brush drawing

LINE

LINE Carp – paint brush drawing
LINE Carp – paint brush drawing

Carp paint brush drawing

The quality of your line is very important and it can make or break a gesture drawing. Emphasize the complex rhythms of en object by alternating thick and thin strokes, saving your strongest lines for the dominant

rhythms. You can also reinforce

the interlocking, sculptural quality

of the shapes by emphasizing the

lines on forms that cross over and

in front of other forms. You may want curves in your

drawing to evolve one into the

other, not start and stop like a

sputtering car.

other forms. You may want curves in your drawing to evolve one into the other, not
other forms. You may want curves in your drawing to evolve one into the other, not
other forms. You may want curves in your drawing to evolve one into the other, not
Five brush-strokes N o t A n y t h i n g by Jan

Five brush-strokes

Five brush-strokes N o t A n y t h i n g by Jan Zaremba
Five brush-strokes N o t A n y t h i n g by Jan Zaremba
Five brush-strokes N o t A n y t h i n g by Jan Zaremba

Not Anything

by Jan Zaremba

Contour Drawing

Contour Drawing
Contour Drawing
Contour Drawing

Blind Contour Drawing

Blind Contour Drawing
Blind Contour Drawing
Blind Contour Drawing

Blind Contour Drawing

Blind Contour Drawing
Blind Contour Drawing
Continuous Line

Continuous Line

Continuous Line
Continuous Line

Continuous Line Drawing

Continuous Line Drawing

Gesture Drawing

Gesture Drawing
Gesture Drawing
Gesture Drawing

Gesture Drawing

Gesture Drawing
Gesture Drawing

Silhouette Drawing

Silhouette Drawing
Silhouette Drawing
Silhouette Drawing

Silhouette Drawing

Silhouette Drawing
Orchid o a Hills
Orchid o a Hills

Orchid o a Hills

Line and spatial effects

Line and spatial effects
Line and spatial effects
Line and spatial effects

line and stroke expressive qualities and variations

line and stroke expressive qualities and variations
line and stroke expressive qualities and variations
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE
LINE

LINE

LINE
LINE
Two studies of the head of an old Man by Rembrandt, pen and brown ink
Two studies of the head of an old Man by Rembrandt, pen and brown ink
Two studies of the head of an old Man by Rembrandt, pen and brown ink
Two studies of the head of an old Man by Rembrandt, pen and brown ink
Two studies of the head of an old Man by Rembrandt, pen and brown ink

Two studies of the head of an old Man by Rembrandt, pen and brown ink