Course 1: Types And Characteristics Of lines
About the Course
Drawing is learning to see. As we look more closely, we began to recognize shapes and relationships accurately; we engaged with the subject and we began to read and interpret the marks at the drawing itself, then we allow the subject and the marks of the drawing to guide us through the process. This is the beginning of drawing and learning to see. A line is not really important because it records what you have seen, but because of it will lead you on to see.
In visual arts lines have highest descriptive potential, and they can indicate forms as well as movement. You will learn to create textures, light, weight, and space reflecting your sensation through applying many different kinds of lines in drawing in order to make a better connection between your artistic talent and viewer’s feeling.
In course one in addition to cover basic drawing media; graphite, you will explore different methods using drawing materials in order to experiment combination of alternative media creating textures and gestures with lines.Gesture and texture are two main characteristics of line. Gestural lines concentrate their energy around specific points or areas. At this level, gestural movements can be descriptive, precise, and direct, or capable of defining the objects characteristically soft, blended, and airy, able to convey faint atmosphere.
Gestural lines can be actual lines you see when looking closely, or using darker or thicker lines where there are more shades, or you can add in extra lines to represent any observed texture in nature. Perceiving textures remind us of a tactile feeling and experiences such as heavy-light, coarse-smooth, soft-hard, rigid-flexible, flat- rugged, broken, folded, cut, porous, wrinkled, pierced, sharp, striated, crackled, col-warm, dry-wet, even-uneven, consistent-inconsistent, liquid-viscous, solid-misty. In this course, through 9 different practices you will learn how to observe varied quality of lines and textures in nature transferring them into your art practices via using variety of applicators in order to recreating those lines and textures.
Course Outcomes
- Deeper understanding of creating a visual analogue of what you are seeing
- Adjusting the body with new language over an engagement of drawing practices
- Building up drawing muscles and hand-eye coordination through guiding your drawing instrument
- Gaining skill set, confidence, and an understanding of how to translate the three-dimensional visual world you know into two dimensional representation of how it appears
- Better understanding of how to observe nature
- Improving visual sensitivity being able to use memory for drawing
- Drawing techniques and principles
- Being able to create variety of lines, textures, and tonal values through different applicators
Course 1 Practices
Session 1: Descriptive line. Seeing, remembering, and drawing a plant
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
How does the structure of anything alive relate to the variety of lines?
Materials:
- Graphite; 8B drawing pencil
- Black Indian Ink
- Sable brush for Ink #8
- Bamboo reed pens
- Steel pen and various nibs
- Newsprint paper
- White Bristol board sheet
- Drawing Board
- Tray
- Jar
- Paper towel
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
Creating lines by modifying a pressure on applicator
Materials:
- Graphite; 8B drawing pencil
- Black Indian Ink
- Sable brush for Ink #8
- Common nail
- Masking tape
- Newsprint paper
- White Bristol board sheet
- Drawing Board
- Tray
- Jar
- Paper towel
Session 3: Experimenting with Lines through Frottage. Observing lines in variety
Session 2: Descriptive positive and negative line. Seeing and reflecting weigh in lines
Session 3: Experimenting with Lines through Frottage. Observing lines in variety
Transferring patterns and textures into paper
Materials:
- Graphite; 4B and 8B drawing pencil
- Charcoal stick, medium hardness
- Masking tape
- Newsprint paper
- Drawing Board
Session 4: Airy, blended, and defused lines. Reflecting a sensation of the model
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Session 3: Experimenting with Lines through Frottage. Observing lines in variety
Creating lines through modifying pressure on applicator desaturating the paint
Materials:
- Charcoal stick, soft hardness
- Black Indian Ink
- Sable brush for Ink #8
- Smudge blender
- Foam brush & roll
- Kneaded rubber eraser
- Masking tape
- Newsprint paper
- Bristol paper
- Watercolor paper
- Drawing board
- Tray
- Jar of water
- Paper towel
Session 5: Thick and Thin Line Emphasis. Comparing two types of line
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Combining graphite and inks creating lines
Materials:
- Graphite; 8B drawing pencil
- Black Indian Ink
- Sable brush for Ink #8
- Bamboo reed pens
- Steel pen and various nibs
- Newsprint paper
- Bristol paper
- Drawing board
- Tray
- Jar
- Paper towel
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Session 6: Rough and coarse texture, Practice 1. Simulating natural rough surfaces
Creating rough texture by overlapping lines through transmitting inks of sewing thread
Materials:
- Black Indian Ink
- Twine string
- Kneaded rubber eraser
- Masking tape
- Bristol paper
- White Bristol board sheet
- Drawing board
- Tray
- Jar of water
- Paper towel
Session 7: Rough and coarse texture, Practice 2 Simulating natural rough surfaces
Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin
Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching
Creating rough texture by transferring texture from aluminium into the base
Materials:
- Black acrylic paint
- Aluminium roll
- Masking tape
- Bristol paper
- White Bristol board sheet
- Newsprint paper
- Drawing board
- Tray
- Jar of water
- Paper towel
Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching
Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin
Session 8: Hatched and reticular texture. Explaining values of grey through crosshatching
Overlapping hatched textures
Materials:
- Black pen
- Graphite, HB drawing pencil
- Black marker
- Black Indian Ink
- Sable brush for Ink #8
- Bamboo reed pens
- Steel pen and various nibs
- Newsprint paper
- Masking tape
- White Bristol board sheet
- Drawing board
- Tray
- Jar of water
- Paper towel
Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin
Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin
Session 9: Scratched, worn, and scraped texture. Extracting rough and volumetric texture in drawin
Mixing and overlapping graphite, charcoal, candle, and glue
Materials:
- Graphite, 8B drawing pencil
- Charcoal stick, soft hardness
- Smudge blender
- Kneaded rubber eraser
- Masking tape
- Candle
- Liquid school glue
- Glue stick
- Newsprint paper
- Bristol paper
- Drawing board
- Paper towel
Course 2: Line, Proportion, And Visual Perception
About the Course
In this course, the practices are offered through 8 sessions/weeks in order to cover 5 main aspects of perception in drawing; the perception of edge, the perception of space, the perception of relationship, the perception of light and shadow, and the perception of whole.
By considering the perception of edges you will practice on sighting and measuring techniques studying on measuring proportions through still life drawing. Then you can compare the angles and axes of viewed objects with those of your drawing.
Seeing the line dynamics and following the main direction of each object will help you to create a space in drawing. Particularly, this is a perfect method of measurement that helps you to improve the accuracy of what you draw.
Through considering circular movements in the subject/model, you will practice to analyse a model into oval forms, which helps you having better perception in relationship between the components forming a picture/drawing. You will learn how to use your drawing pencil to compare and record the size of the object on your drawing surface.
One of the main lessons in this course is introduction to light and shadow in drawing. Considering the light and shadow will help you to find a proper position for applying relevant values of grey tones into each unit of the composition based on the viewed object. Then you will find how this notion is strongly related to the elements of movement you can recognize in any piece of art.
Trough the final practice in this course, you will combine all sighting techniques together shaping the entire composition. By following all those rules, you are able to apply your own perception of the whole to create a landscape scenery applying lumograph graphite techniques.
Course Outcomes
- Having better visual perception
- Ability to interpret the surrounding environment into lines and tonal values
- Better understanding of scales and measures functions of in a composition
- Ability to draw what you see
- Ability to analyze a masterpiece into its main components
- Better understanding of tonal value configuration in a composition
- Ability to create a space in drawing
- Having better perception in relationship among the picture components
- Ability to follow light and shadow of the object you see
- Ability to compare and record the size of the object you see
- Ability to apply proper effects through lumograph graphite techniques
Course 2 Practices
Session 1: The perception of edge, Sighting / Measuring
Session 3: The perception of space, Drawing from memory
Session 2: The perception of space, Direction and Movement
Combination of three object; considering proportions through still life drawing
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 2: The perception of space, Direction and Movement
Session 3: The perception of space, Drawing from memory
Session 2: The perception of space, Direction and Movement
Considering lines dynamics depicting movement in the subject through still life drawing
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 3: The perception of space, Drawing from memory
Session 3: The perception of space, Drawing from memory
Session 4: The perception of relationship – Practice 1, The function of oval forms
Considering the main line of movement
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 4: The perception of relationship – Practice 1, The function of oval forms
Session 5: The perception of relationship – Practice 2, The importance of sighting
Session 4: The perception of relationship – Practice 1, The function of oval forms
Considering circular movements in the subject analysing a model into oval forms
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 5: The perception of relationship – Practice 2, The importance of sighting
Session 5: The perception of relationship – Practice 2, The importance of sighting
Session 5: The perception of relationship – Practice 2, The importance of sighting
Drawing from memory
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 6: The Perception of Light and Shadow, Practice 1
Session 5: The perception of relationship – Practice 2, The importance of sighting
Session 5: The perception of relationship – Practice 2, The importance of sighting
Practice on the line weight through cardboard model making. The function of values creating the illusion of a third dimension
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 7: The Perception of Light and Shadow, Practice 2
Session 8: The Perception of the Whole – Landscape Drawing
Session 8: The Perception of the Whole – Landscape Drawing
Practice on shading through compositing
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 8: The Perception of the Whole – Landscape Drawing
Session 8: The Perception of the Whole – Landscape Drawing
Session 8: The Perception of the Whole – Landscape Drawing
Practice on overlapping random lines forming shapes in drawing based on viewed scenery
Materials:
- Lumograph Graphite set
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Course 3: Form, proportion, And Visual Perception
About the Course
When you analyze any picture or any natural scenery into simple forms, potentially each form expresses different feeling and you will learn how to transmit that experience from what you see into drawing using charcoal sticks.
In visual art form is referred to two realities: the external appearance of objects; their “body”, and the mental model that we have of them; their “soul”. These two realities always go together like two sides of a coin.
All practices are designed encouraging you to dedicate hours to observation and analysis of the world that surrounds you. Then you will strive to capture that which is hidden behind every form, modifying your perception your environment, making a better connection with nature enriching the culture of this relationship.
Course Outcomes
- Having better visual perception
- Ability to interpret the surrounding environment into shape and tonal values
- Ability to analyze any picture into its main components
- Better understanding of tonal value configuration in a composition
- Having better perception in relationship among the composition components
- Ability to follow light and shadow of the object you see
- Ability to manipulate the object you see
- Ability create artworks through applying charcoal and lumograph graphite
Course 3 Practices
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Draw the silhouette; the Mass, to define the spatial limits of objects
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 2: Represent the Structure of Form
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Draw not only the outside edge of the form but also internal the characteristics, so that a few well drawn inside outlines can explain the whole form as well as expressing the volume
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 3: Volumetric, Organic, and Curvilinear Forms
Session 1: The Law of Simplicity; the simplest structure that can be obtained from the given form.
Session 3: Volumetric, Organic, and Curvilinear Forms
Composition with fruits, following the main structure of the model. Depicting nature using cylinder, the sphere, and the cone
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 4: Linear, Twisted, and Sinuous Forms
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Session 3: Volumetric, Organic, and Curvilinear Forms
Composition with Trunks, Branches, and Roots, following the main structure of the model. Focusing on the gesture and the rhythm of their lines
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 5: Dynamic and Living Forms
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Composition with structural organic forms based on arcs and ellipses to communicate their movement. Animals moves in different ways. It is necessary to observe the model very attentively, making an effort to capture their volumes and gesture
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Session 6: Defining Forms through Simplifying the Spatial Structure of a Landscape
Converting three dimensions to two dimensions offering an opportunity to create new forms
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 7: Creative Approach to the Model. Creating a Model Map
Session 7: Creative Approach to the Model. Creating a Model Map
Session 7: Creative Approach to the Model. Creating a Model Map
Creating flat cutouts from the last drawing; session 6, rearranging those new forms to create a new composition
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Session 8: The Final Drawing
Session 7: Creative Approach to the Model. Creating a Model Map
Session 7: Creative Approach to the Model. Creating a Model Map
Transmitting outlines into drawing. Extracting forms through manipulating light and shadows by referring to the source image; session 6, creating an atmospheric drawing
Materials:
- Lumograph Graphite set
- Charcoal stick, soft hardness
- Newsprint paper
- White Bristol board sheet
- Drawing Board
Course 4: Controlling Values and visual perception, Charcoal
About the Course
Willow and Vine charcoal are the most basic form of drawing charcoal purely natural. They are carbonized wooden sticks without any binder that can be very brittle and powdery to use for drawing. This means that the charcoal can be easily smoothed out and erased, which is one of the main advantages of this kind as a drawing medium.
Charcoal powder is grinned substance made from willow or vine charcoal. You can apply it with a brush or all kinds of other tools, to create a beautiful soft look or to tone larger areas of your drawing.
Compressed charcoal is darker than regular willow and vine charcoal. The ranges from hard to soft, depending on the ratio of charcoal powder to binder: the harder the charcoal stick, the less charcoal powder and hence the lighter the tonal value. Compressed charcoal adheres better to the paper than regular willow or vine charcoal.
Charcoal pencils are thinner than the other types of charcoal ideally you can have more control working on details. They are comparable to compressed charcoal, and just like compressed charcoal they usually come in a range from hard to soft.
Course Outcomes
- Having better control over charcoal drawing techniques
- Better understanding of how to apply different kinds of charcoal
- Being experienced with applying techniques on varied bases
- Ability to manipulate charcoal and blending techniques
- Better understanding of tonal value configuration in a composition
- Ability to follow light and shadow of the object you see
Course 4 Practices
Session 1: A wheat field
Session 2: Tree trunk at forest
Session 2: Tree trunk at forest
Shading with Charcoal Powder, manipulating the grey values by applying blending tools
Materials:
- Charcoal powder
- Mixed-media paper
- Painter tape
- Drawing Board
Session 2: Tree trunk at forest
Session 2: Tree trunk at forest
Session 2: Tree trunk at forest
Drawing with vine charcoal, shading with Charcoal Powder, manipulating the grey values by applying blending tools
Materials:
- Charcoal powder
- Vine Charcoal
- Mixed-media paper
- Painter tape
- Drawing Board
Session 3: Light and Contrast
Session 2: Tree trunk at forest
Session 3: Light and Contrast
week 1: Adjusting proportions and tonal values referring to a source image
Materials:
- Charcoal powder
- Vine Charcoal
- Mixed-media paper
- Painter tape
- Drawing Board
Session 4: Light and Contrast
Session 5: Drawing of Half Dome in Yosemite National Park
Session 3: Light and Contrast
Week 2: Compressed charcoal and blending techniques
Materials:
- Charcoal powder
- Vine charcoal
- Compressed charcoal
- Mixed-media paper
- Painter tape
- Drawing Board
Session 5: Drawing of Half Dome in Yosemite National Park
Session 5: Drawing of Half Dome in Yosemite National Park
Session 5: Drawing of Half Dome in Yosemite National Park
Week 1: Adjusting proportions and tonal values referring to a source image
Materials:
- Charcoal powder
- Vine charcoal
- Compressed charcoal
- Mixed-media paper
- Painter tape
- Drawing Board
Session 6: Drawing of Half Dome in Yosemite National Park
Session 5: Drawing of Half Dome in Yosemite National Park
Session 5: Drawing of Half Dome in Yosemite National Park
Week 2: Creating texture, extracting light and shadows applying compressed charcoal and blending techniques
Materials:
- Charcoal powder
- Vine charcoal
- Compressed charcoal
- Mixed-media paper
- Painter tape
- Drawing Board
Session 7: Glasses and Reflection
Session 8: Glasses and Reflection
Session 8: Glasses and Reflection
Week 1: Modelling, Study on outlines, forms, proportions, and tonal values
Materials:
- Charcoal powder
- Vine charcoal
- Compressed charcoal
- Charcoal pencile
- Mixed-media paper
- Painter tape
- Drawing Board
Session 8: Glasses and Reflection
Session 8: Glasses and Reflection
Session 8: Glasses and Reflection
Week 2: Applying realistic shading and effects making the drawing accurate toward the model
Materials:
- Charcoal powder
- Vine charcoal
- Compressed charcoal
- Charcoal pencil
- Mixed-media paper
- Painter tape
- Drawing Board