Project 2- INTERIORS RUS 104 : INTEGRATED STUDIO COLOURED DRAWING BY, DR SYARMILA HANY HARON

Before drawing you must consider the most significant association in design: What is the Figure Ground

The Figure Ground Figure–ground organization is probably best known by the faces-vase drawing that Edgar Rubin described. This drawing exemplifies one of the key aspects of figure–ground organization, edge- assignment and its effect on shape perception. Notice in the faces/vase drawing below, the perceived shape depends critically on the direction in which the border (edge) between the black and white regions is assigned. If the two curvy edges between the black and white regions are assigned inward then the central white region is seen as a vase shape in front of a black background. No faces are perceived in this case. On the other hand, if the edges are assigned outwards, then the two black profile faces are perceived on a white background and no vase shape is perceived.

The Figure Ground Figure–ground organization is used to help artists and designers in composition of a 2D piece. In its basic sense, it refers to a cognitive ability to separate elements based upon contrast, that is, dark and light, black and white. Many times this definition is expanded from a simple perception based on contrast to include abstract (i.e. non-visual) concepts such as melody/harmony, subject/background and positive/negative space. The concept of figure and ground fully depends on the observer and not on the item itself.

The Figure Ground

Design Element Line Colour Shape Texture Space Form

Principles of Design Unity Point Line and Plain PLP Balance Hierarchy Scale Dominance Similarity and Contrast Rhythm/Pattern

Balance - Symmetry

Symmetry and Asymmetry

Colour

SHADING shows changes from light tolight dark or dark to light in a picturepicture by darkening areas that would be shadowed and leaving other areas light. Blending of one value into another is sometimes called feathering. Shading is often used to produce illusions of dimension and depth.featheringillusions dimensiondepth

# 1 The darkest tone is as near to BLACK as you can get, this is your darkest shade. Don't try to achieve this tone in one application, build it up in layers. #2 DARK GRAY, this represents the shadowed side of an object as it recedes from the light. On the ball, the light is coming from the upper front. The shadow is seen around the lower side. # 3 MEDIUM GRAY, This is called a halftone, because it is seen halfway between the light area and the dark area. The mid gray, the tone that represents the actual color of the object without the effects of either direct light or shadow. #4 LIGHT GRAY, This is the hardest element to see, but it is probably the most important one to have in your art work. This is reflected light. It is light that bounces up onto the ball from the table. It separates shadow from cast shadows. #5 WHITE, This is the lightest part of an object where the full light falls directly on to it. It is where the light is the strongest and is called the highlight. #1 Black #2 Dark gray #3 Medium gray #4 Light gray #5 White (highlight) #3 #5 #2 #4 #1 VALUE STEPS

Shading is really hard for a lot of Students! So…..

…remember nothing but nothing is more important than PRACTICE

The pencil must be applied SMOOTHLY to begin with if you want it to look smooth in the end. So we can't be scribbling. Pencil strokes are applied very closely to each other, so that it becomes hard to tell one stroke from another. For most people it's quite easy to apply a lot of pressure, but what comes much harder is a lighter touch. Under shading is unspeakably better than over shading. If you do draw too hard and try to mop it up with an eraser later on, you're prone to disaster. Ease up already. Don’t try to achieve this value in one application. Build it up with soft layers. TRY SHADING THIS GRAY SCALE

CYLINDER STEP 7 Creating three dimensional shadows is all about being subtle; gradually blending light and dark STEP 8 Pressure and layering is what determines what shade your pencil will draw. That slow change in shade is what you need to create our shape. CUBE STEP 9 Your pencil is extremely sensitive to your touch. STEP 10 When you learn to control that pressure and layering, Your shading quality will do new and interesting things. CONE STEP 1 Add a light source STEP 2 Trace shape VERY LIGHTLY STEP 3 Now lightly fill the shape using a sharp color pencil. STEP 4 This will be the first of a many layers which will build up to the required value. SPHERE STEP 5 Start with the lines closer together and gradually increase the distance between them, slowly reducing the amount of pressure on the pencil. STEP 6 Don’t try to achieve this value in one application. Build it up with soft layers.

PROJECT & OBJECTIVES Students will: 1)Practice shading on the Basic Shapes worksheets. 2)Utilize the five step value scale to shade each shape correctly. 3)Draw four basic shapes: cone, sphere, cylinder, and cube. 4)Gradually shade each shape in the direction of light source. 5)Use value to change each shape into the form. 6)Blend shapes evenly and smoothly. 7)Practice… practice… practice.

CONE SPHERE CYLINDER

SHADING SHAPES CREDITS Drawing Pencil Portraits by Lee Hammond ArtsWork Drawing Tutorials by Rebekah Lynn

Project 2a – Aesthetic (Pleasant View)

Project 2b – Defect (Unpleasant View)

* Drawing Requirements Draw any of these view as below. Medium used is water colour /pencil colour. Use darks for contrast, definition and shadows. Remember you will have to exaggerate the values to get a good range from lights to dark. * * Part of a bathroom * Inside your refrigerator or kitchen cabinet * Drawing of wrapped objects * Chair with something/someone in its seat with environment * Architecture Buildings Or any observed interior or buildings.

Paper Format – landscape

Submission Requirements 2 A3 size cartridge paper. Water colour/colour pencils needed Submission date : (Friday at 9.00 am)

THANK YOU