amazing talented skills
Great and amazing talent in drawing, that a man can draw natural view with his finger only! Wonderfull... why this guy till in street? sometimes world is just crazy... give him the money he needs...make him a respectable man.. Extreme Fingerpainting.
Use Colour In Logo Design To Effectively Communicate The Right Message
When studying colour theory we are given an understanding of the colour wheel and the harmonious relationships that can be forged between these brothers of reflecting light… It is here that we are given a cheat sheet on how to use colour effectively to communicate the right message.
Below we use this knowledge to go behind the scenes of colour theory in logo design while looking at various case studies of logo designs that use these principles. Enjoy.
This wheel, that shows the relationships of colours, is a handy little tool to understand. Without going into any great detail of how the colours of the wheel are established (which is pretty interesting to know), we’ll just tip or toes into the water.
The panels that have an outline above, with their linking lines, show the relationships colours have. For example, complementary colours are the colours directly opposite each other. In our illustration above (the first wheel highlights the relationship), red and green are directly opposite, so they’re complementary. Just as the blue on the left and the yellow on the right are complementary, the orange and light blue, and so on.
These aren’t the be-all and end-all of colour combinations obviously, but they’re good places to start when choosing what colours you might want to use for a project. As you’ll see in the following examples, sometimes you might use three out of four tetrad colours, or go for an analogous harmony but stretch it out one more and skip one.
The wheel is our simple guide into the world of colours – something to use when you find yourself in a place of bother, or something you may choose to ignore. With that in mind, sometimes one may decide to ignore the wheel, but work with colour meanings and psychology instead. It should be noted that it isn’t exactly a science. Ask a hundred people what red means and you’ll likely get dozens upon dozens of different answers – none wrong. But again, it’s a great starting point and gives you insight into how your audience may instinctively perceive something you’ve put together.
Below we use this knowledge to go behind the scenes of colour theory in logo design while looking at various case studies of logo designs that use these principles. Enjoy.
The panels that have an outline above, with their linking lines, show the relationships colours have. For example, complementary colours are the colours directly opposite each other. In our illustration above (the first wheel highlights the relationship), red and green are directly opposite, so they’re complementary. Just as the blue on the left and the yellow on the right are complementary, the orange and light blue, and so on.
These aren’t the be-all and end-all of colour combinations obviously, but they’re good places to start when choosing what colours you might want to use for a project. As you’ll see in the following examples, sometimes you might use three out of four tetrad colours, or go for an analogous harmony but stretch it out one more and skip one.
The wheel is our simple guide into the world of colours – something to use when you find yourself in a place of bother, or something you may choose to ignore. With that in mind, sometimes one may decide to ignore the wheel, but work with colour meanings and psychology instead. It should be noted that it isn’t exactly a science. Ask a hundred people what red means and you’ll likely get dozens upon dozens of different answers – none wrong. But again, it’s a great starting point and gives you insight into how your audience may instinctively perceive something you’ve put together.
Colour Meanings & Theory
Colour can make or break a design so it is vital that you know what colours mean and what they can communicate. Below are some ‘meanings’ of colour. [Source]- Red evokes aggressiveness, passion, strength and vitality
- Pink evokes femininity, innocence, softness and health.
- Orange evokes fun, cheeriness and warm exuberance.
- Yellow evokes positivity, sunshine and cowardice.
- Green evokes tranquility, health and freshness.
- Blue evokes authority, dignity, security and faithfulness.
- Purple evokes sophistication, spirituality, costliness, royalty and mystery.
- Brown evokes utility, earthiness, woodsy-ness and subtle richness.
- White evokes purity, truthfulness, being contemporary and refined.
- Gray evokes somberness, authority, practicality and a corporate mentality.
- Black evokes seriousness, distinctiveness, boldness and being classic.
Choosing colors for your business logo
Know your/your client’s target market. Identifying and understanding your target market is the first step in choosing the right colors for your business’ logo. Studying your target market includes determining the market’s age, gender, profession, culture, and socioeconomic status.
Know what colors represent. Every color has its own representation and meaning according to the target market. Understanding each color’s meaning can help you organize your first step in choosing the colors for your preferred logo design.
Choosing color is a form of art. It’s a process of expression, an art form without a limitation, an art form that breaks boundaries of cultures, beliefs and rules. If you’re brave and clever enough to combine green and pink with orange and crimson, then do it. The logos of Google and Yahoo were designed like that for a reason. You can use unusual color combinations if you want, but remember to do a decent case study on using the combinations. Playing with colors for your business’ logo is a serious part of any branding strategy that can make or break your business’ success.
Know what colors represent. Every color has its own representation and meaning according to the target market. Understanding each color’s meaning can help you organize your first step in choosing the colors for your preferred logo design.
Basic Color Representation
- Red – sex, passion, love, food, radical, bold, war, anger
- Pink – female, weakness, romance, blush, affection
- Blue – subtle, cool, peace, calm, sadness, melancholy
- Black- death, grief, angst, elegance, class, strength
- White – purity, cleanliness, absurd, vague, righteousness
- Burgundy and Brown – refinement, aristocracy, nobility
- Yellow – happiness, youth, summer, childhood
- Green – earth, life, environment, money, organic, jealousy, naughtiness
Basic techniques
Although there are commonly used and popular color representations, we should not confine ourselves with what these norms suggest. As a web designer, you should pick a color that describes and represents your business’ personality best.Choosing color is a form of art. It’s a process of expression, an art form without a limitation, an art form that breaks boundaries of cultures, beliefs and rules. If you’re brave and clever enough to combine green and pink with orange and crimson, then do it. The logos of Google and Yahoo were designed like that for a reason. You can use unusual color combinations if you want, but remember to do a decent case study on using the combinations. Playing with colors for your business’ logo is a serious part of any branding strategy that can make or break your business’ success.
Color space conversion
Color space conversion is what happens when a color management module (CMM) translates color from one device's space to another. Conversion may require approximations in order to preserve the image's most important color qualities. Knowing how these approximations work can help you control how the photo may change — hopefully maintaining the intended look or mood.
BACKGROUND: GAMUT MISMATCH & RENDERING INTENT
The translation stage attempts to create a best match between devices — even when seemingly incompatible. If the original device has a larger color gamut than the final device, some of the those colors will be outside the final device's color space. These "out-of-gamut colors" occur with nearly every conversion and are called a gamut mismatch.
Each time a gamut mismatch occurs, the CMM uses the rendering intent to decide what qualities of the image it should prioritize. Common rendering intents include: absolute and relative colorimetric, perceptual, and saturation. Each of these types maintains one property of color at the expense of others (described below).
PERCEPTUAL & RELATIVE COLORIMETRIC INTENT
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative colorimetric maintains a near exact relationship between in gamut colors, even if this clips out of gamut colors. In contrast, perceptual rendering tries to also preserve some relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors. The following example demonstrates an extreme case for an image within a 1-D black-magenta color space:
Note how perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors (at center of magenta globules and in the darkness between them). For 2D and 3D color spaces, relative colorimetric maps these to the closest reproducible hue in the destination space.
Even though perceptual rendering compresses the entire gamut, note how it remaps the central tones more precisely than those at the edges of the gamut. The exact conversion depends on what CMM is used for the conversion; Adobe ACE, Microsoft ICM and Apple ColorSynch are some of the most common.
Another distinction is that perceptual does not destroy any color information — it just redistributes it. Relative colorimetric, on the other hand, does destroy color information. This means that conversion using relative colorimetric intent is irreversible, while perceptual can be reversed. This is not to say that converting from space A to B and then back to A again using perceptual will reproduce the original; this would require careful use of tone curves to reverse the color compression caused by the conversion.
ABSOLUTE COLORIMETRIC INTENT
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, but they differ in how each handles the white point. The white point is the location of the purest and lightest white in a color space. If one were to draw a line between the white and black points, this would pass through the most neutral colors.
The location of this line often changes between color spaces, as shown by the "+" on the top right. Relative colorimetric skews the colors within gamut so that the white point of one space aligns with that of the other, while absolute colorimetric preserves colors exactly (without regard to changing white point). To illustrate this, the example below shows two theoretical spaces that have identical gamuts, but different white points:
SATURATION INTENT
Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Another use for saturation intent is to avoid visible dithering when printing computer graphics on inkjet printers. Some dithering may be unavoidable as inkjet printers never have an ink to match every color, however saturation intent can minimize those cases where dithering is sparse because the color is very close to being pure.
PAY ATTENTION TO IMAGE CONTENT
One must take the range of image colors present into account; just because an image is defined by a large color space does not mean that it actually utilizes all of those extreme colors. If the destination color space fully encompasses the image's colors (despite being smaller than the original space), then relative colorimetric will yield a more accurate result.
The above image barely utilizes the gamut of your computer display device, which is actually typical of many photographic images. If one were to convert the above image into a destination space which had less saturated reds and greens, this would not place any image colors outside the destination space. For such cases, relative colorimetric would yield more accurate results. This is because perceptual intent compresses the entire color gamut — regardless of whether these colors are actually utilized.
SHADOW & HIGHLIGHT DETAIL IN 3D COLOR SPACES
Real-world photographs utilize three-dimensional color spaces, even though up until now we have been primarily analyzing spaces in one and two dimensions. The most important consequence of rendering intent on 3D color spaces is how it affects shadow and highlight detail.
If the destination space can no longer reproduce subtle dark tones and highlights, this detail may be clipped when using relative/absolute colorimetric intent. Perceptual intent compresses these dark and light tones to fit within the new space, however it does this at the cost of reducing overall contrast (relative to what would have been produced with colorimetric intent).
The conversion difference between perceptual and relative colorimetric is similar to what was demonstrated earlier with the magenta image. The main difference is that now the compression or clipping occurs in the vertical dimension — for shadows and highlight colors. Most prints cannot produce the range of light to dark that we may see on our computer display, so this aspect is of particular importance when making a print of a digital photograph.
Using the "black point compensation" setting can help avoid shadow clipping — even with absolute and relative colorimetric intents. This is available in the conversion properties of nearly all software which supports color management (such as Adobe Photoshop).
The decision about when to use each of these depends on image content and the intended purpose. Images with intense colors (such as bright sunsets or well-lit floral arrangements) will preserve more of their color gradation in extreme colors using perceptual intent. On the other hand, this may come at the expense of compressing or dulling more moderate colors. Images with more subtle tones (such as some portraits) often stand to benefit more from the increased accuracy of relative colorimetric (assuming no colors are placed within the gamut mismatch region). Perceptual intent is overall the safest bet for general and batch use, unless you know specifics about each image.
BACKGROUND: GAMUT MISMATCH & RENDERING INTENT
The translation stage attempts to create a best match between devices — even when seemingly incompatible. If the original device has a larger color gamut than the final device, some of the those colors will be outside the final device's color space. These "out-of-gamut colors" occur with nearly every conversion and are called a gamut mismatch.
Each time a gamut mismatch occurs, the CMM uses the rendering intent to decide what qualities of the image it should prioritize. Common rendering intents include: absolute and relative colorimetric, perceptual, and saturation. Each of these types maintains one property of color at the expense of others (described below).
PERCEPTUAL & RELATIVE COLORIMETRIC INTENT
Perceptual and relative colorimetric rendering are probably the most useful conversion types for digital photography. Each places a different priority on how they render colors within the gamut mismatch region. Relative colorimetric maintains a near exact relationship between in gamut colors, even if this clips out of gamut colors. In contrast, perceptual rendering tries to also preserve some relationship between out of gamut colors, even if this results in inaccuracies for in gamut colors. The following example demonstrates an extreme case for an image within a 1-D black-magenta color space:
Note how perceptual maintains smooth color gradations throughout by compressing the entire tonal range, whereas relative colorimetric clips out of gamut colors (at center of magenta globules and in the darkness between them). For 2D and 3D color spaces, relative colorimetric maps these to the closest reproducible hue in the destination space.
Even though perceptual rendering compresses the entire gamut, note how it remaps the central tones more precisely than those at the edges of the gamut. The exact conversion depends on what CMM is used for the conversion; Adobe ACE, Microsoft ICM and Apple ColorSynch are some of the most common.
Another distinction is that perceptual does not destroy any color information — it just redistributes it. Relative colorimetric, on the other hand, does destroy color information. This means that conversion using relative colorimetric intent is irreversible, while perceptual can be reversed. This is not to say that converting from space A to B and then back to A again using perceptual will reproduce the original; this would require careful use of tone curves to reverse the color compression caused by the conversion.
ABSOLUTE COLORIMETRIC INTENT
Absolute is similar to relative colorimetric in that it preserves in gamut colors and clips those out of gamut, but they differ in how each handles the white point. The white point is the location of the purest and lightest white in a color space. If one were to draw a line between the white and black points, this would pass through the most neutral colors.
The location of this line often changes between color spaces, as shown by the "+" on the top right. Relative colorimetric skews the colors within gamut so that the white point of one space aligns with that of the other, while absolute colorimetric preserves colors exactly (without regard to changing white point). To illustrate this, the example below shows two theoretical spaces that have identical gamuts, but different white points:
SATURATION INTENT
Saturation rendering intent tries to preserve saturated colors, and is most useful when trying to retain color purity in computer graphics when converting into a larger color space. If the original RGB device contained pure (fully saturated) colors, then saturation intent ensures that those colors will remain saturated in the new color space — even if this causes the colors to become relatively more extreme.
Saturation intent is not desirable for photos because it does not attempt to maintain color realism. Maintaining color saturation may come at the expense of changes in hue and lightness, which is usually an unacceptable trade-off for photo reproduction. On the other hand, this is often acceptable for computer graphics such as pie charts.
Another use for saturation intent is to avoid visible dithering when printing computer graphics on inkjet printers. Some dithering may be unavoidable as inkjet printers never have an ink to match every color, however saturation intent can minimize those cases where dithering is sparse because the color is very close to being pure.
PAY ATTENTION TO IMAGE CONTENT
One must take the range of image colors present into account; just because an image is defined by a large color space does not mean that it actually utilizes all of those extreme colors. If the destination color space fully encompasses the image's colors (despite being smaller than the original space), then relative colorimetric will yield a more accurate result.
The above image barely utilizes the gamut of your computer display device, which is actually typical of many photographic images. If one were to convert the above image into a destination space which had less saturated reds and greens, this would not place any image colors outside the destination space. For such cases, relative colorimetric would yield more accurate results. This is because perceptual intent compresses the entire color gamut — regardless of whether these colors are actually utilized.
SHADOW & HIGHLIGHT DETAIL IN 3D COLOR SPACES
Real-world photographs utilize three-dimensional color spaces, even though up until now we have been primarily analyzing spaces in one and two dimensions. The most important consequence of rendering intent on 3D color spaces is how it affects shadow and highlight detail.
The conversion difference between perceptual and relative colorimetric is similar to what was demonstrated earlier with the magenta image. The main difference is that now the compression or clipping occurs in the vertical dimension — for shadows and highlight colors. Most prints cannot produce the range of light to dark that we may see on our computer display, so this aspect is of particular importance when making a print of a digital photograph.
Using the "black point compensation" setting can help avoid shadow clipping — even with absolute and relative colorimetric intents. This is available in the conversion properties of nearly all software which supports color management (such as Adobe Photoshop).
The decision about when to use each of these depends on image content and the intended purpose. Images with intense colors (such as bright sunsets or well-lit floral arrangements) will preserve more of their color gradation in extreme colors using perceptual intent. On the other hand, this may come at the expense of compressing or dulling more moderate colors. Images with more subtle tones (such as some portraits) often stand to benefit more from the increased accuracy of relative colorimetric (assuming no colors are placed within the gamut mismatch region). Perceptual intent is overall the safest bet for general and batch use, unless you know specifics about each image.
What is Drawing and Sketching?
Drawing is not just making lines with a
pencil to represent a figurative scene. Drawing can be done with tone,
line, texture, colour, pen, stick and ink, pencil, charcoal, brush, pen,
pastel, crayon, in fact almost any medium.
Neither does drawing mean a photographically correct representation of a scene. Drawing can lean towards the abstract, even decorative.
Not only can all of these different mediums be used on their own for different effects, many can be used together.
We will concentrate, here, on the most commonly used and readily available drawing materials, but you should not be afraid to experiment further yourself whenever you wish.
The paper’s surface is a one dimensional plain, it is flat. We are going to give it the effect of being two dimensional, of going back, by the use of line, tone and texture. Painters can also use colour and potters and sculptors can take the surface forwards and back to produce low relief and full sculptures that are three dimensional, seen all round.
There
is often a very fine divide between drawing and painting, as a drawing
may be tinted or coloured. Drawings are usually associated with the
above mediums, but you may well ask yourself the difference when using a
brush as to whether you are painting a line or drawing it? Painting,
for our purposes we will assume that a colour work covering nearly all
the surface and done with a brush and paint, pastels, or laid by tools
such as rag, knife will constitute painting. A Drawing
we will consider as done in linear colour, or a little tinting on a
drawing, linear work, tonal work other than in paint, or textural work
other than in paint. Sketching should not be considered
an excuse for a bad drawing, merely a fast and perhaps looser drawing
which is slightly governed by constraints in time and has to give
maximum information in its limited content. An artist such as Munch with
his style of using linear strokes of paint almost seems to border on drawing with paint!
Neither does drawing mean a photographically correct representation of a scene. Drawing can lean towards the abstract, even decorative.
I will explore drawing under the following headings =)
Materials and Tools, The Illusion of Perspective, Shapes and drawing skills, Techniques and examples in Line, Tone, Texture.
A
drawing of an artist done approx. 440 B.C. – Almost Art Nouveau in
appearance! A drawing by Degas 1865, then a tonal print of a painting by
Munch “The Scream”, almost seems like a drawing?
Materials and Tools: What can we draw with?
Aboriginal
sand paintings are done by carefully sprinkling coloured sand. A stick
will make a mark in the sand on the beach, the tatooist on the human
body! The answer is that almost anything that can make a mark can be
drawn with.
Not only can all of these different mediums be used on their own for different effects, many can be used together.
We will concentrate, here, on the most commonly used and readily available drawing materials, but you should not be afraid to experiment further yourself whenever you wish.
Paper.
For
most ordinary drawing purposes with pencils, ordinary white drawing
cartridge paper is most commonly used. The term sketch pad refers,
usually, to a book or pad of cartridge paper that can be easily taken
anywhere for drawing. Some are of slightly higher quality and thicker
paper is used. This is useful if a little paint is to be used, but
beyond that and into watercolours you may need to get a proper
watercolour pad! Sugar paper is another cheap and lower quality coloured
paper that can be useful when a tonal or coloured background is needed.
Hand made papers are expensive but can be purchased in wonderful
textures and surfaces, some including seeds and petals in their makeup.
Brown paper can also be a good ground to draw on and will allow some
lights as well as darks to be used.
Pencils.
Pencils
are not made of lead, the black colouring is Graphite. This comes in
different hardness, the softer graphite giving a darker mark. They are
coded with H and B grades. Think of these as standing for H for Hard and
B for Black! 4B is very Black and soft 2B is not so soft, H.B. is in
the middle and 4 H would be like using a needle to draw with and give a
faint line.
I
would suggest having only an H.B, a 2B and a 4B in your box for drawing
and shading. Softer darker pencils can be used by choosing charcoal
pencils. These have a much richer blacker mark but lose the silvery
depth of the graphite. A pure stick of graphite with no wood encasing is
available, it is the same size as a pencil and can be sharpened in the
same way. This is simply called a “graphite stick”
Charcoal.
Charcoal
sticks are made from thin twigs of Willow, heated with a lack of
oxygen. It is useful to rake around in an expired outdoor wood fire for a
possible lump of charcoal to draw with. It is also possible to wrap a
piece of willow up in tinfoil and bake it in the oven, but an extractor
fan is wise as the resulting smoke can be evil! Different woods will
give different effects of charcoal.
Stick and Ink.
A
piece of dowel or simply a piece of twig from a tree, which is
sharpened, then dipped into a bottle of Indian Ink, will draw a lovely
line. This is far nicer than the line drawn with a felt tip and is very
useful for fast flowing drawings of moving animals.
Pen and Ink.
A
traditional way of drawing than if used with waterproof ink can be
tinted with watercolour or coloured inks at any time. New, fine line
pens are now available in waterproof inks and are more easily
transported and used – but their permanence is still suspect and after
duration in sunlight they can tend to go brown and vanish.
Aquarel or Water soluble Pencils.
These
are coloured pencils that can be blended with water as they are used or
later. They are usually softer than ordinary coloured pencils.
Coloured Pencils.
As they sound, simply coloured pencils. They are usually fairly hard.
Pastel Pencils.
If softer coloured pencils are required, especially for working on sugar or coloured pastel paper then these will be useful.
Brush Drawing.
The
brush is a wonderful drawing instrument. The Japanese have been taught
to write and draw with a brush before a pencil! It gives a versatility
of line that cannot be obtained any other way. Used with inks or paints
both flowing and textural marks are possible.
Drawing Board, Clips/Low Tack Tape/Drawing Pins.
A
board large enough to hold your paper and with a smooth surface. A
piece of hardboard is cheap, will do, and is light, but a board of one
inch ply is better still and will not warp, especially if paper is
stretched wet onto it. Hardboard will not like drawing pins and is a bit
thin for clips.
Rubbers.
A
rubber can be used for blending and smudging as well as rubbing out. I
would advise a putty rubber as being most useful. It can be cut in half
and one half kneaded into a clean point for fine rubbing out and
highlights, the other for getting messy and blending.
Pastels.
Conte’ or Inscribe pastels are the obvious choice for drawing, other than pastel pencils, as they are fairly hard.
Pencil Sharpener or Craft Knife.
Clearly you will need to sharpen your pencils.
Camera Obscura.
This
simply refers to a piece of card about five inches long by four inches
high with a window cut out of it to see through and choose your
composition through. It aids you to gauge scale and the relative
position of objects one to another. You can mark the facing inside
window into halfway and quarters and eighths. Some artists even make the
window into a grid by gluing dark cotton across at these measurements.
The use of this and checking scale with a pencil will be dealt with
later in these notes.
Plumb Line.
Very
few artists use this, but a lot of sculptors do. Most artists simply
gauge a rough vertical with a brush handle or pencil, but a piece of
string with a small fishing weight at the end can be very useful if you
are not sure of a vertical angle, figure or building.
The Illusion of Perspective
Each
mark that we make upon the paper that is supposed to represent a real
scene or object, and therefore fool the eye and brain, is a lie. It is
not creating a real scene, merely the illusion if a scene. What I am
going to do here is to show you how to “lie” more effectively!
Perspective is an invention by artists to give the illusion of distance
and receding objects.
The paper’s surface is a one dimensional plain, it is flat. We are going to give it the effect of being two dimensional, of going back, by the use of line, tone and texture. Painters can also use colour and potters and sculptors can take the surface forwards and back to produce low relief and full sculptures that are three dimensional, seen all round.
I will divide this into two halves of basic and advanced perspective.
The
basic will give you all you need to know to start drawing most
landscapes and still life, whilst the advanced you can attempt with a
bit more experience and if you need more of a challenge?
See how many deliberate “perspective” faults you can see in this picture?
The Horizon Line.
This
is the foundation stone to most perspective laws and scale. The Horizon
is not where the sky meets the land, as there could be mountains! The
horizon is where the sky meets the land if the land was absolutely level
all of the way until the gentle curvature of the earth means you can
see no further and the sky meets it. E.g.
In Fig. 1 the grey
area represents the earth’s curved surface, at the very point that the
girls eye level sees over the top of the curve it is the horizon. When
we view it from her point, as in Fig 2. it becomes a level horizontal
line. Anything at the same level as this horizon and on the same ground
level, is the same height as she is, or we are.
Therefore the figure on the left is only half our height! The two lines
that appear to make a road away from us in Fig 2. are parallel lines
which will meet at the horizon, this is called the Vanishing Point. Here
they would disappear over the horizon due to the roundness of the
earth. Having just one vanishing point, like his, is called single point perspective. The next illustration will demonstrate this in more detail.
In the illustration
above you can tell the door is slightly higher than the person’s head
as it is above the horizon. All of the lines that recede go back to the
one vanishing point. The others remain horizontal, the two trees are the
same size, even though one is smaller in the distance. You know this by
it’s height above the horizon being the same as the one closer to us to
scale and eye level. They are approximately twice as tall as the
figure?
In this drawing you
see two point perspective, there are two vanishing points. All of the
receding lines go back to the two vanishing points on the horizon. Again
you can tell the scale of people on the level ground, as their eye
level is the same as yours. The smaller figure (3) would have to be a
child or someone in a hollow? I have shown a figure (2) on top of
another’s head to show that the house is twice the height of you. The
figure in the distance (1) is a bit taller than us as the head is
slightly above the horizon, or they are on a slight rise.
In
(1&4) above, you can see how a cube and a tube would be extended
back to a vanishing point. In (2) how a vertical tube would be cut into
sections at different levels. This would give you the ellipses for a
table top (3), tree, still life object such as a cup or bottle, tower or
any tubular form. The tube (5) does the same but explains that this is
still, actually, happening in perspective like the cube going back. The
ends of ellipses are always rounded and never become a point! Where it
is cut off at the horizon line it would be absolutely level.
Now let us look at how to make things seem lower or higher than us. For instance a valley and some hills?
As
things recede into the distance so they become smaller and appear to
become closer together. Three is a very simple way to make equally
spaced objects do this correctly. This could be used on fence posts,
railway sleepers, trees, or anything that is equally repetitive. (A)
& (B) are a single point perspective going to a vanishing point. Th
first and second lines are drawn as fence posts. A diagonal is then
drawn from the top of (1) at (A) to the bottom of (2) at (B). After (2)
the diagonal is drawn again at exactly the same angle to reach the base
line (B) and that is where the next fence post will be placed. The
single vertical line on the right has had a diagonal dropped from it
ready for the second post. This would then be repeated, the posts will
automatically become closer as the perspective lines converge.
Tip. Verticals in normal perspective remain Vertical. A common mistake is to let fence posts fall over at an angle!
Free Tutorials on Advanced Drawing Techniques
This tutorial aims to show a good technique for working out ideas in
both a fast and readable manner. To be able to produce sketches which
read as 3D objects, a basic understanding of perspective is required.
For this reason the tutorial begins by giving a brief overview of the
rules of one and two point perspective, including wheel ellipses. It
then talks through three examples, all using different perspective
viewpoints. Each one shows how to build a sketch from a blank page,
through the rough line work, and finally simple colouring methods.
Following all this collection of great tutorials on advanced drawing techniques, including general theory, useful tips, comic inspired art and some methods for transforming your creations into digital format.
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Following all this collection of great tutorials on advanced drawing techniques, including general theory, useful tips, comic inspired art and some methods for transforming your creations into digital format.
1. How to Draw a Car
Use a range of pencil drawing techniques to create an American classic, the Corvette. This tutorial from DueysDrawings.com covers the process from roughing out the initial outline through to shading with a range of tones.Visit Tutorial
2. How to Draw Hair With Naughty-Kitty
Follow this tutorial by Naughty Kitty to gain some useful tips on recreating Manga inspired hair in a range of styles.Visit Tutorial
3. How to Draw Cute Characters
Learn the tips and techniques in this Manga tutorial to draw a cute female character, paying particular attention to body language and facial features.Visit Tutorial
4. Tips for drawing hands
Discover a range of tips for drawing hands, generated from the artist’s own experiences. Techniques include foreshortening, drawing nails and finger shapes.Visit Tutorial
5. How to Draw a Ninja
Start by sketching out the wireframe skeleton and work through this tutorial to produce a dynamic ninja character ready for action.Visit Tutorial
6. Traditional Sketch Rendering
Swedish designer Mikael Lugnegard shows us his techniques for creating a traditional sketch render of a BMW car concept.Visit Tutorial
7. How to Create a Three Color Wolf Skull in Illustrator
Use a Wacom tablet directly in Adobe Illustrator to trace a reference photo and shade the illustration with a range of hatch lines.Visit Tutorial
8. Inking and Coloring the Comic Strip The Brads
Follow tips from cartoonist Brad Colbow to discover how to create your own comic strip.Visit Tutorial
9. Drawing the Human Eye
Pay close attention to the anatomical structure of the eye and follow tips in this tutorial to produce a highly realistic sketch of a human eye.Visit Tutorial
10. Eye drawing tutorial by Lianne
Follow this tutorial from Lianneissa.com to draw a detailed female eye from scratch.Visit Tutorial
11. A Pseudo-Sugar Skull: From Start to Finish.
Create a highly detailed sugar skull illustration by following this expert tutorial, with details on the process from sketch to final digital design.Visit Tutorial
12. Comic Book Style Graphic Design.
Discover useful tips and techniques while following this design process of drawing a stunning comic book style character.Visit Tutorial
13. From Sketch to Vector Illustration.
Follow these tips on producing impactful digital creations starting from a hand drawn sketch.Visit Tutorial
14. Character Drawing.
Follow this artist’s personal recommendations and tips on creating your own characters.Visit Tutorial
15. Create Your Own Impressive Cartoon Character.
Create your own character by following these tutorial steps, starting with a skeletal framework to build the cartoon features.Visit Tutorial
16. Sketching Figures with Lines.
Although the site requires an account, this extensive collection of tutorials is extremely useful for anyone looking to improve their drawing skills.Visit Tutorial
17. How to Draw a Fashion Figure.
Watch this simple video tutorial to learn how to use existing reference imagery to trace a fashion inspired sketch.Visit Tutorial
18. Figure drawing video tutorial.
View this figure drawing video lesson with Matthew Achambault to gain a useful insight into life figure drawing.Visit Tutorial
19. How to Draw a Head.
This useful series of video tutorials cover some highly useful tips for drawing a human head.Visit Tutorial
20. The Dragon Tutorial.
Pick up some techniques in this dragon inspired tutorial that can be put into practice in your own fantasy drawings.Visit Tutorial
drafting slides
I recommend drafting slides away from your desk, and sketching your original ideas on paper. You don’t have to be a modern day Picasso or Rembrandt to sketch out ideas – the goal of sketching is to set you up to design, not to win awards.
There are clear advantages to sketching: innovative design ideas are likely to come faster to you and you can work uninterrupted away from your desk, which eliminates ‘switching time’ associated with jumping from one task to the next. Check out the following examples, which show how design ideas:
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