How to Draw the Head in 3/4 or Side View A common approach to drawing the head from 3/4 or side view is to use a 2 step construction approach. The first step is to draw a ball for the cranium, followed by drawing the frontal plane and jaw. Below is an example by Andrew Loomis (Fig. 1). This tutorial will introduce a more fluid and gestural approach to drawing the head. The focus is on the major gestures, or “thrusts” as Steve Huston refers to them, and their relationships to one another. We’re also want to keep our lay-in simple, by using geometric shapes. Using Notan as a Painting Strategy: A Step-by-step Painting Tutorial Sometimes it’s fun to use a painting strategy that’s foreign to our usual approach. It refreshes the mind, recharges the brain and might open a creative thought or kindle a new direction in your art. In today’s tutorial I’m going to show you how to use a basic Notan composition as a painting strategy. This tutorial will incorporate your habitual method of painting—along with a few detours—to help you create what I like to call a Notan-anchored painting.
Seeing “Notan” – How to Make Stronger Compositions Using Lights and Darks We all want viewers to be attracted to our paintings, and to linger with them for a while. The more clever our composing strategy, the more likely we are to catch the viewers’ eye and hold their attention. One strategy that depends upon seeing shapes of light and dark rather than following traditional compositional rules is the Japanese concept of Notan. Notan means lightness/darkness and is pronounced just like it looks (no tan).
DESIGN — Notan "Careful distinction should be made between NOTAN, en element of universal beauty, and LIGHT AND SHADOW, a single fact of external nature." Arthur Wesley Dow, Composition: Understanding Line, Notan and Color, p. 8. Dow substituted "notan" for "value" to distinguish between light and dark shapes on a two-dimensional surface and illuminated forms, lit objects occupying three-dimensional space. For centuries, art students had been taught to replicate the appearance of three-dimensional objects by observing the value changes that occur as light falls across their surfaces — the highlights, halftones, shadows, etc. Dow was convinced that this instruction had so diminished the importance of composition that Western art had reached a dead end. His remedy: replace the West's illumination-based approach to pictorial representation with the object-based approach of Japanese artists.
Human Figure Drawing Proportions START WITH A (3 x 4) OVAL. Divide this head like this:The top of the skull.The pupils are in the middle of the head, top to bottom.The bottom of the nose is about 1.5 eye widths from the eye line.1 eye width below the nose is between the lips.1/3 below between the lips and the chin is the chin crease.I started with an oval that fit on my skull's front view. My horizontal center line of the skull dividing the top to bottom is between the pupils. My head is 5 eyes wide not including my ears.
Figure drawing: Basic Pose and Construction 1. Introduction This method is to help you draw the human form. How to Draw Constructing: For Makers One method for manipulating simple shapes to create more complex figures is my cutting away or subtracting material. I like to think of constructing a drawing the same way as sculpting clay. You start with a basic "block" of material and then "find" your final shape inside by cutting away and adding material as needed. Building complex shapes out of simpler shapes will help keep your perspective accurate and break down the drawing into easy to manage figures. I don't draw a car by starting directly with a "car" shape.
tessellation how to do - Google Search 364 × 215 - mathforum.org 760 × 574 - infobarrel.com 606 × 1552 - tessellations.org 1062 × 406 - opticalillusion.net 385 × 248 - mathforum.org Tessellations by Recognizable Figures - EscherMath In this section we will explore some methods for creating Escher like tessellations. We will use the geometry we have developed in the previous sections to create tessellations by recognizable figures. Explorations Mitchell Albala's Exploring Composition Through Shape and Notan Gage Academy of Art in Seattle| Saturday–Sunday December 13–14 | $260 To register contact Gage Academy of Art Watch the 13-minute video introduction NOTAN - EXPLORING SHAPE & COMPOSITION Can't see the video here? Watch it at YouTube. If a composition has a soul, then the notan is the doorway to that soul.
DRAWING GRASS (Negative Drawing techniques)at MIKE SIBLEY FINE ART What do you see when you look at this picture on the right? Do you see an ancient black drinking cup? Maybe an ebony candlestick holder? These are the positive images. Or do you see two white faces both looking at each other? Think of these faces as the areas or what I call "White Space". mposition 1: What Makes a Good Composition? Can composition be learned? And if so, how? Over the next few posts I'm going to try and answer those questions. It seems to me that a good place to start might be to try to reach some conclusions on what makes a good composition, to try to divine some basic principles of composition that can be learned and practiced. For a long time now, the subject of composition has harried at the edges of my thoughts about learning to draw and paint like a dog worrying at a bone.
The hand The hands are a notorious source of frustration. This section won't concentrate on the muscle structure, since the hand is very complex in this regard, and knowing this won't help much in drawing them. Instead, we'll look at proportions, range of motion, and possible simplifications. Structure and proportions