Mmd2d501 - 2D Drawings Conception

MMD2D501 - 2D DRAWINGS CONCEPTION

REQF Level: 5

Learning hours: 120

Sector: ICT

Sub-sector: Multimedia

LU1: CREATE BASIC DRAWINGS

The basic drawing techniques

When drawing, the following drawing instruments are available: point, line, area, and the tonal values (light and dark). These drawing instruments are used to create a drawing using the appropriate drawing technique and the appropriate drawing tool.

The different drawing techniques: • the line • hatching • smudging

1.1: Apply line drawing techniques

Point and line are the basic drawing instruments. The line marks the outline of a motif. It is used as a basic technique for drawing, to represent the boundaries and the outline of objects.

The most commonly drawing tools to use are pencil or graphite pen, ink pen, charcoal and crayons.

 thin  horizontal  vertical  zigzag  diagonal  curly  spiral

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Drawing technique - hatching

The hatching is a classic drawing technique which makes it possible to draw and form the surfaces of a motif. Various effects can be achieved with the hatching technique. A good spatial effect results from the hatching, as well as different plastically representation of the motif is created. Thin lines are drawn in the drawing technique "hatching". The direction of the lines usually runs at an oblique angle to the primary outline. In the case of a pure drawing, these shading must not be drawn too tightly, or even be smudged.

Stippling is the creation of a pattern simulating varying degrees of solidity or shading by using small dots. Such a pattern may occur in nature and these effects are frequently emulated by artists. A circle of a sphere is a circle that lies on a sphere. Such a circle can be formed as the intersection of a sphere and a plane, or of two spheres. A circle on a sphere whose plane passes through the center of the sphere is called a great circle; otherwise it is a small circle.

Smudging Technique

When smudging,

Smudging Technique When smudging, a hatched area is blurred with a finger or a wipe tool. This makes it possible to create very smooth surfaces and tone

Having a good understanding of geometric-shapes and forms and observing them in what you are trying to draw, helps your understanding of the structure of what you are observing. You can find these basic shapes in most everything you will be draw from observation, weather a mechanical object or

organic object in nature .V One of the most fundamental principles of drawing is the process of shading. If we are to create the illusion of form and light within a scene, then we must be able to shade forms accurately. 

Shapes are defined as enclosed lines. Most of us are very familiar with geometric shapes - circle, square, triangle, etc

 Form is the physical volume of a shape and the space that it occupies.

1.3 . Apply drawing values The lighting techniques in drawing

Lights Setting or source of lights

 -Highlights

 -Reflected light  Darkness Setting Shadows  -Core of shadow

 -Cast shadow

1.4: Apply space making techniques

When it comes to drawing and painting, it is important for artists to be able to create the illusion of space on a 2D surface. In reality, all realistic or representational art is dependent on creating an illusion. If creating realistic art is what you're after, then having the ability to create the illusion of space on a 2D surface is a skill that you need to master. There are a few tricks that you can use to create the illusion of space. In this free drawing lesson, we examine six ways to create the illusion of space on a 2D surface. Use them together to maximize the illusion.

There are Six Ways to Create the Illusion of Space

1. Linear Perspective - By using either 1 point perspective, 2 point perspective, or 3 point perspective, an artist can create the illusion of space. Linear perspective is a drawing method that uses lines to draw objects in space. 2. Overlapping - When one object is positioned in front of another object, part

of the object behind it may be blocked from view. This is called overlapping.

Example of overpping

3. Size - Objects that are closer to a viewer appear larger than objects that are further off in the distance.

4. Placement on the Surface - Generally, objects that are positioned lower on the picture plane will appear closer than objects that are positioned higher on the picture plane. 5. Before you start drawing or painting in Photoshop Elements, you may want to change your color to something other than the default black. There are two overlapping color swatches at the bottom of the Tools panel. These two swatches represent two categories of color: foreground and background. Here’s a quick look at how they work with different tools: When you add type, paint with the Brush tool, or create a shape, you’re using the foreground color.  On the background layer of an image, when you use the Eraser tool, or when you increase the size of your canvas, you’re accessing the background color.  When you drag with the Gradient tool, so long as your gradient is set to the default, you’re laying down a blend of color from the foreground to the background.

Colour and Value Objects that are closer to a viewer appear darker in value and warmer in colour. Objects that are further away appear lighter in value and cooler in colour. 6. Detail - Objects that are closer appear more detailed than objects that are further away.

1.5. Make proportion and composition 1. application of golden mean techniques

a. A golden rectangle can be constructed with only a straightedge and compass in four simple steps:

• Draw a simple square.

• Draw a line from the midpoint of one side of the square to an opposite corner.

• Use that line as the radius to draw an arc that defines the height of the rectangle.

• Complete the golden rectangle.

b. Fibonacci sequence theory Fibonacci sequence The Fibonacci sequence is a set of numbers that starts with a one or a zero, followed by a one, and proceeds based on the rule that each number (called a Fibonacci number) is equal to the sum of the preceding two numbers. If the Fibonacci sequence is denoted F (n), where n is the first term in the sequence, the following equation obtains for n = 0, where the first two terms are defined as 0 and 1 by convention:

F (0) = 0, 1, 1, 2, 3, 5, 8, 13, 21, 34 ...

Is 0 a Fibonacci number? In mathematics, the Fibonacci numbers, commonly denoted Fn form a sequence, called the Fibonacci sequence, such that each number is the sum of the two preceding ones, starting from 0 and 1. ... In some books, and particularly in old ones, F0, the "0" is omitted, and the Fibonacci sequence starts with F1 = F2 = 1. Fibonacci Sequence

1. The 2 is found by adding the two numbers before it (1+1)

2. The 3 is found by adding the two numbers before it (1+2), 3. And the 5 is (2+3),

4. and so on!

c. golden spiral

In geometry, a golden spiral is a logarithmic spiral whose growth factor is φ, the golden ratio. That is, a golden spiral gets wider (or further from its

origin) by a factor of φ for every quarter turn it makes.

d. rule of thirds techniques Rule of Thirds The Rule of Thirds is a common technique for achieving balance in your composition. If you subdivide your photo into thirds both vertically and again horizontally, you’ll wind up with an evenly spaced grid. The sections where lines cross are points of interest. These points are where you want to place your subject, parts of the image where you want attention to be drawn or show points of activity. Rarely will you use all four points – many times one or two – but this is what creates balance in your composition.

1. How to draw a head: 8 common angles or Selection of angles The angles you’ll encounter the most as a story artist are:

• Profile

• Straight on

• Up

• Up three-quarters

• Down

• Three-quarters

• Down three-quarters

• Rear three-quarters

• You will find yourself returning to these angles over and over again, so it’s good to know them well enough that you can whip them out with your eyes closed. Any angle that’s not covered here can be interpolated with some in-betweening.

• Commit these eight angles to memory, and start breaking down the head into simple shapes 01. Profile

When drawing a head from profile, start by arranging your two basic shapes so that they roughly resemble the angle you’re looking for. Once you have a good approximation of the relationships between the shapes, you can start building the rest of your drawing from that foundation.

02. Straight on

The straight-on is probably the angle we’re most familiar with, as it is the angle at which we see and interact with most people in real life. Still, breaking it down into the basic shapes of a sphere and pyramid will help you maintain the proper proportions and relationships throughout the face.

03. Up

This is a difficult angle to visualise because we rarely see people from this vantage point. In fact, this was the angle I had the most trouble with when I was a young artist. However, breaking the head down into these two simple shapes will make this angle less intimidating.

04. Up three-quarters

This is a very common angle, as many heroic shots are framed from this vantage point. You’ll find it a lot in comic books, paintings, and print advertisements.

05. Down

This angle is not as common, but it can be very useful nonetheless in certain storytelling sequences. The key to draw a head from the down angle is orienting the head correctly by first establishing the correct position for the nose.

06. Three-quarters

This is perhaps the most popular angle of all in film, portraiture, and illustration. It’s often the most flattering of the angles as it shows the most dimension in a person’s face.

07. Down three-quarters

Like the down angle, this vantage is less often used, but still very handy to know. It’s an in-between of the profile and the down angles. Again, being able to accurately locate the nose from this complicated angle makes all the difference when you proceed to fill in the rest of the face.

08. Rear three-quarters

While the up angle was the hardest for me when I was younger, the rear threequarters angle is the hardest for me now. Every time I try it, it never looks quite right. Thankfully, however, when this angle occurs, the person is usually not the focus of the image but is rather more of a compositional element.

2. Composition refers to the way elements of a scene are arranged in a camera frame.

Shot composition refers to the arrangement of visual elements to convey an intended message.

There are seven composition of Shots

the Rule of Thirds

A straightforward "rule of thirds" definition is that its the principle that states that by placing points of interest along one or more of the imaginary horizontal and vertical lines, or on one or more of the four intersections, your image will be more pleasing to look at.

Leading Lines

A leading lines definition would be imaginary lines, also called vertices, that help lead your viewer's eye into your image, which creates depth -- a must for our dimensional medium. It creates a sense of kinesis and movement, which adds to your image's aesthetic energy.

Sometimes much of the frame goes ignored by the human eye, certainly, we can't focus on every element in an image at once. Leading lines guide

Diagonals

our eye toward a specific point in the frame. Some angles and directions of leading lines are more effective at doing this than others. Like leading lines, diagonals are vertices that lead your viewer's eye, but instead of them being lead into your image, they're lead across the composition, which creates "movement". This is probably more important for still photography compositions, but if you're shooting a static shot -- even if elements within the frame are moving -- it's a great way to create kinesis.

Diagonal lines are more intense than horizontal ones, they create an instant dynamic within the composition and the experience of the viewer. They have a palpable emotional effect.

Framing How you frame up your compositio n s i s, of course, a huge part of how the audience will experience them. Director John Ford was known for this famous doorway shot, often referenced by others.

You can use something natural, like windows and doors to create a frame within a frame, but you can get creative, too. One of my favorite examples of unique framing comes from The Tracey Fragments, which was the first feature to use Mondrian multi-frame compositions for the entire film.

Center Dominant Eye

As McCurry points out, by positioning the dominant eye of your character in the center of the frame, it gives the illusion that it is following you.

Patterns & Repetition

Humans are naturally attracted to patterns -- I guess we don't like, or can't easily make sense of, chaos. So, using repetition will immediately attract

your viewer to your image, but including an element that breaks the pattern will keep your images interesting and your audience engaged.

This is also a composition technique that you can utilize over the course of a film. Are there sequences you want to set up with a certain pattern, that maybe you'll suddenly break to signify changes in the narrative?

Relating to the audience on this level can be much more emotionally compelling than informing them through your dialogue.

Symmetry

In the same way we love patterns, symmetry for our eyes is like Nutella for our tastebuds. (If you don't like Nutella, what's wrong with you?) Scientists still don't really know why humans like symmetry so much, but tests have proven that those with symmetrical faces are considered to be more attractive (some say because it indicates health), while those with asymmetrical faces are considered less so. There have even been studies that reveal that babies will stare longer at symmetrical pictures than they will at asymmetrical ones.

Balance in the frame creates a sense of peace, contrast and imbalance will create a sense of chaos. You can use this to your advantage when setting up your compositions.

LU2. Make 1- point perspective and 2-point perspective 2.1: Apply1-point and 2-point perspective techniques

What is One Point Perspective?

One point perspective is a type of linear perspective. Linear perspective relies on the use of lines to render objects leading to the illusion of space and form in a flat work of art. It is a structured approach to drawing. One point perspective gets its name from the fact that it utilizes a single vanishing point.

OR

Other forms of linear perspective include two point perspective and three point perspective. Each type gets its name according to how many vanishing points are used. The scene usually dictates which type of perspective is used by the artist.

The Horizon Line

One point perspective assumes that a viewer is at a certain vantage point and that there is a real or theoretical "horizon line" present. The "horizon line" is sometimes described as the line that divides the ground from the sky. The horizon line is not always clearly defined by "sky" and "ground", however. The horizon line can also be the vantage point from which a viewer is observing.

Understanding the horizon line helps the artist make an informed decision on where the vanishing point or points should be placed.

The Vanishing Point

Dots placed on the horizon are called the "vanishing points". One point perspective utilizes one vanishing point. All of the lines of perspective will recede back to this singular dot in space. This dot can best be thought of as the place where objects begin to disappear because of distance. Some of the lines used in one point perspective will use the "vanishing point" as an anchor.

Orthogonals

Once the basic shape of the object is defined, lines that recede back to the vanishing point are added from each corner of the object. These diagonal lines are called orthogonals.

The back "face" of the cube is added by drawing another square that touches all four orthogonals as they recede back in space.

The shape of the cube has now been defined and the lines that were used to draw it can be erased, revealing a three dimensional cube in space.

This process is simply replicated to create additional forms. Each form that is drawn utilizes the same vanishing point. A new vanishing point is not created within the picture plane.

Scenes can become more complex as more features are added. The illusion of space is maintained by following a structured approach for additional details.

One Point Perspective with Interiors

One point perspective is not limited to basic forms and buildings. It can also be used to draw interiors using the same approach. A horizon line is defined, although it most likely will not be visible in the finished drawing. A vanishing point is placed on the horizon line, before basics shapes are drawn.

Orthogonals (receding diagonal lines) are drawn to define the form of the objects extending towards the singular vanishing point.

How to draw using one point perspective

Two-point perspective is used when only the vertical edges of the cube are parallel to the picture plane. This is unlike one-point perspective, in which whole sides of the cube are parallel to the picture plane. With a cube in twopoint perspective, only the verticals are truly parallel to each other.

Parallel Lines – In math, you may have been taught parallel lines never meet, but in perspective parallel lines do meet at a vanishing point. Like if you have been on a long stretch of straight road. Far in the distance, the road seems to come to a point. We call that a

“vanishing point.”

Vanishing Point – A vanishing point is where parallel lines come together another word for that is “converge.” The vanishing point, for now, will always be on the “horizon line.” The Horizon line or The Eye Line– This is “the eye line” or other words the height of our eyes off the ground. So if I was lying down looking at the horizon “the eye line” might be 6 inches off the ground. If I was kneeling on the ground my eye line might be around 36″ off the ground and if I was standing “the eye line” why do you keep saying “Eye Line” instead of the “Horizon Line”. Well if I am looking at the horizon where the sky meets the earth my Eye Line and the Horizon Line is the same, but if I was in a forest of tall trees and looked straight up. I wouldn’t see the horizon at all I would see the tops of the trees and the sky no horizon at all. This would be a situation where the Horizon Line and the Eye Line don’t meet up. So we always reference this as our Eye Line because it’s the relationship of our eyes to the object that decides the perspective. Not

Right Angles or Perpendicular Angles – Perspective is all about breaking things down into squares and boxes or cubes. That means we need nice straight corners. Those straight corners are 90 degrees we refer to these types of angles as “Right Angles” or “Perpendicular Angles”, so since we are using boxes or cubes we are always using 90-degree angles.

There are Different Kinds of Perspective There are different types of perspective depending on how many vanishing points we are using. The most common perspective that is employed by most by the artist is “One Point Perspective” and “Two Point perspective.” One Point Perspective– This is where all the parallel lines converge at One Point on the Horizon Line/EyeLine. With one point we are seeing most of the front of the cube or box sometimes called the “front face” of the cube.

Below are the steps for creating boxes using One Point Perspective.

know more about the steps of creating cubes and boxes visit youtube they have some great indepth videos on the basic steps of one and two-point perspective. Unfortunately, there aren’t a lot of great explanations on youtube on how to use the perspective effectively in your drawing. From this

This gets you familiar with the ideas on one an two - point perspective. If you would like to new mark, draw a line straight down to the perspective roof line. Where these lines meet is the peak of the roof.

Draw the pitched roof lines to the point you have just established.

To find the back peak of the roof draw a line from the station point to the back peak of the roof in the top view. Make a mark where this line crosses the picture plane.

Draw a line from the front peak of the roof to the right horizon line vanishing point. This will be the roof's ridge. Then draw a vertical line down to the roof's ridge. This establishes the back peak of the roof and the length of the ridge.

Our shed is now correctly drawn in two-point perspective.

From this new mark, draw a line straight down to the perspective roof line. Where these lines meet is the peak of the roof.

Draw the pitched roof lines to the point you have just established.

To find the back peak of the roof draw a line from the station point to the back peak of the roof in the top view. Make a mark where this line crosses the picture plane.

Draw a line from the front peak of the roof to the right horizon line vanishing point. This will be the roof's ridge. Then draw a vertical line down to the roof's ridge. This establishes the back peak of the roof and the length of the ridge.

Our shed is now correctly drawn in two-point perspective. There are 5 Ways to Create a Focal Point in Artworks What are Focal Points? Knowing how to create strong focal points in art is a skill every artist should understand and be able to execute. Focal points refer to the areas of the artwork that demand the viewer's attention. Creating focal points in your artwork is one way to be in control of how your artwork is viewed. There are several devices that artists can use to ensure that

subjects are seen in an artwork. These subjects become the focal point(s) in the imagery. Contrast One way to create a focal point in art is through the use of contrast. Contrast refers to difference. Any type of difference in imagery will result in that element becoming a focal point. Difference or contrast can come in many different forms. Color, value, texture, shape, and form can all create contrast. By combining elements, you can increase the contrast that is created, thus strengthening the focal point.

Isolation Another way to create a focal point in artwork is through isolation. Whenever one object or element is separated from a group it becomes isolated and in turn, becomes a focal point. Placement Objects that are placed in the center of the picture plane or near center, will naturally become a focal point. Most of the time, a focal point that is not exactly center is preferred. By placing an object or element just off center, you can create a focal point through placement without affecting the aesthetics of the work. Convergence A fourth way to create a focal point in artwork is to use implied lines to direct a viewer's eye to an object or element. This technique is known as convergence. The Unusual Another way to create a focal point in artwork is to introduce an object or element that is unusual to the scene. This object will stand out and demand attention thus creating a focal point.

Linear perspective , as most of us understand it, is a method using lines to create the illusion of space on a 2 Dimensional surface. Linear perspective uses a vanishing point(s), typically placed on a horizon line, in which lines are drawn according to the location of that vanishing point(s). The result, if properly executed, is the illusion of 3 Dimensional objects, and/or space on a flat surface.

2.3: Use of geometry principles

1. Linear perspective, as most of us understand it, is a method using lines to create the illusion of space on a 2 Dimensional surface. Linear perspective uses a vanishing point(s), typically placed on a horizon line, in which lines are drawn according to the location of that vanishing point(s). The result, if properly executed, is the illusion of 3 Dimensional objects, and/or space on a flat surface.

The most common forms of linear perspective include:

• 1 Point Perspective, which uses one vanishing point placed on the horizon.

• 2 Point Perspective, which uses two vanishing points placed on a horizon line.

• 3 Point Perspective, which uses two vanishing points placed on a horizon line, and another placed either above the scene or below it.

The Italian architect, Fillipo Brunelleschi is credited with “discovering” linear perspective early in the 15th century. It has been used by countless artists, architects, and designers throughout history.

Perspective, being a rigid and calculated approach to drawing, has the potential to produce drawings and paintings that may translate as “stiff” and “stale”. If the artist is not careful with its use, the work can look manufactured or synthetic.

2. Curvilinear perspective is a graphical projection used to draw 3D objects on 2D surfaces.

Lu3. Make digital painting 3.1: Apply block values method

1. Introduction to the painting software Digital painting is an emerging art form in which traditional painting techniques such as watercolor, oils, impasto, etc. are applied using digital tools by means of a computer, a graphics tablet and stylus, and software.

Digital painting software such as Corel Painter, Adobe Photoshop, ArtRage, GIMP, Krita and openCanvas give artists a similar environment to a physical painter: a canvas, painting tools, mixing palettes, and a multitude of color options

Custom Computer Graphics Software While I do use commercially available 2D and 3D software for the creation of my digital art, I rely heavily on graphics software of my own creation. This includes both digital painting software as well as image manipulation software. The two programming languages that I use are C++ and Java. When using Java, I rely on the Processing Programming Language framework. In addition, I have written some small Perl applications for use in conjunction with Adobe Photoshop. I'm also thinking about writing some programs using the Python programming language, which to date I've only used for web scrapping and file processing.

2D Computer Graphics Software There are a variety of 2D graphics software products that I use to either create art, manipulate photographic images, or to just experiment with for the purpose of gaining insight. These packages are:

• Adobe Photoshop

• AIP4WIN Astronomical Image Processing Software

• Apopyhsis

• Corel Painter

• Gimp

• Krita

• Rawtherapee

• Ultrafractal

I've also made use of the audio processing program Audacity for the creation of Glitch art.

3D Computer Graphics Software In the realm of 3D graphics software, the following are software packages that I have used:

• Blender

• Daz3D Bryce (formerly Corel)

• Nutek Lightwave

• Pandromeda Mojoworld

Bryce was the first 3D graphics software that I used. This was followed by Mojoworld, which I still use on occasion. While Photoshop Extended incorporates 3D capabilities, I have not used them as a part of my artistic workflow.

Hardware Used in the Digital Art Creation Process The computer hardware platforms I use consists of a desktop running Windows 7 and, for portability, a laptop running Ubuntu Linux. The hardware that I use in the image creation process consists of the following:

• Wacom Intuos Graphics Tablet and Pen for painting, drawing, etc.

• Nikon digital camera for image capture

• Nikon 35mm film camera in conjunction with a Minolta film scanner for image capture

• Epson Expression Graphic Arts Scanner

• Epson 1270 printer for image proofing

• Epson Stylus Pro 4880 printer for giclee prints and canvas

For giclee printing, if the image dimensions are larger than the maximum paper size the Epson Stylus Pro 4880 can handle, I use a professional art printing service that caters to the needs of the digital artist. This company uses the same line of Epson Stylus Pro printers and thus the same archival quality inks. The only difference is that they use a Epson Stylus Pro model capable of handling larger paper sizes.

Blend modes (or mixing modes) in digital image editing and computer graphics are used to determine how two layers are blended with each other. The default blend mode in most applications is simply to obscure the lower layer by covering it with whatever is present in the top layer (see alpha compositing). The blending mode specified in the options bar controls how pixels in the image are affected by a painting or editing tool. Think in terms of the following colors when visualizing a blending mode’s effect:

• The base color is the original color in the image.

• The blend color is the color being applied with the painting or editing tool.

• The result color is the color resulting from the blend. Blending mode descriptions

Choose from the Mode pop-up menu in the options bar.

• In the Blend Mode pop-up menu, scroll over different options to see how they look on your image. Photoshop displays a live preview of blend modes on the canvas.

• Only the Normal, Dissolve, Darken, Multiply, Lighten, Linear Dodge (Add), Difference, Hue, Saturation, Color, Luminosity, Lighter Color, and Darker Color blending modes are available for 32-bit images.

Normal

Edits or paints each pixel to make it the result color. This is the default mode. (Normal mode is called Threshold when you’re working with a bitmapped or indexed-color image.)

Dissolve

Edits or paints each pixel to make it the result color. However, the result color is a random replacement of the pixels with the base color or the blend color, depending on the opacity at any pixel location.

Behind

Edits or paints only on the transparent part of a layer. This mode works only in layers with Lock Transparency deselected and is analogous to painting on the back of transparent areas on a sheet of acetate.

Clear

Edits or paints each pixel and makes it transparent. This mode is available for the Shape tools

(when fill region is selected), Paint Bucket tool , Brush tool , Pencil tool , Fill command, and Stroke command. You must be in a layer with Lock Transparency deselected to use this mode.

Darken

Looks at the color information in each channel and selects the base or blend color— whichever is darker—as the result color. Pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change.

Multiply

Looks at the color information in each channel and multiplies the base color by the blend color. The result color is always a darker color. Multiplying any color with black produces black. Multiplying any color with white leaves the color unchanged. When you’re painting with a color other than black or white, successive strokes with a painting tool produce progressively darker colors. The effect is similar to drawing on the image with multiple marking pens.

Color Burn

Looks at the color information in each channel and darkens the base color to reflect the blend color by increasing the contrast between the two. Blending with white produces no change.

Linear Burn

Looks at the color information in each channel and darkens the base color to reflect the blend color by decreasing the brightness. Blending with white produces no change.

Lighten Looks at the color information in each channel and selects the base or blend color— whichever is lighter—as the result color. Pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. Screen

Looks at each channel’s color information and multiplies the inverse of the blend and base colors. The result color is always a lighter color. Screening with black leaves the color unchanged. Screening with white produces white. The effect is similar to projecting multiple photographic slides on top of each other.

Color Dodge Looks at the color information in each channel and brightens the base color to reflect the blend color by decreasing contrast between the two. Blending with black produces no change.

Linear Dodge (Add)

Looks at the color information in each channel and brightens the base color to reflect the blend color by increasing the brightness. Blending with black produces no change.

Overlay

Multiplies or screens the colors, depending on the base color. Patterns or colors overlay the existing pixels while preserving the highlights and shadows of the base color. The base color is not replaced, but mixed with the blend color to reflect the lightness or darkness of the original color.

Soft Light

Darkens or lightens the colors, depending on the blend color. The effect is similar to shining a diffused spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened as if it were dodged. If the blend color is darker than 50% gray, the image is darkened as if it were burned in. Painting with pure black or white produces a distinctly darker or lighter area, but does not result in pure black or white.

Hard Light

Multiplies or screens the colors, depending on the blend color. The effect is similar to shining a harsh spotlight on the image. If the blend color (light source) is lighter than 50% gray, the image is lightened, as if it were screened. This is useful for adding highlights to an image. If the blend color is darker than 50% gray, the image is darkened, as if it were multiplied. This is useful for adding shadows to an image. Painting with pure black or white results in pure black or white.

Vivid Light

Burns or dodges the colors by increasing or decreasing the contrast, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by decreasing the contrast. If the blend color is darker than 50% gray, the image is darkened by increasing the contrast.

Linear Light

Burns or dodges the colors by decreasing or increasing the brightness, depending on the blend color. If the blend color (light source) is lighter than 50% gray, the image is lightened by increasing the brightness. If the blend color is darker than 50% gray, the image is darkened by decreasing the brightness.

Pin Light

Replaces the colors, depending on the blend color. If the blend color (light source) is lighter than 50% gray, pixels darker than the blend color are replaced, and pixels lighter than the blend color do not change. If the blend color is darker than 50% gray, pixels lighter than the blend color are replaced, and pixels darker than the blend color do not change. This is useful for adding special effects to an image.

Hard Mix Adds the red, green and blue channel values of the blend color to the RGB values of the base color. If the resulting sum for a channel is 255 or greater, it receives a value of 255; if less than 255, a value of 0. Therefore, all blended pixels have red, green, and blue channel values of either 0 or 255. This changes all pixels to primary additive colors (red, green, or blue), white, or black.

Note:

For CMYK images, Hard Mix changes all pixels to the primary subtractive colors (cyan, yellow, or magenta), white, or black. The maximum color value is 100.

Difference

Looks at the color information in each channel and subtracts either the blend color from the base color or the base color from the blend color, depending on which has the greater brightness value. Blending with white inverts the base color values; blending with black produces no change.

Exclusion

Creates an effect similar to but lower in contrast than the Difference mode. Blending with white inverts the base color values. Blending with black produces no change.

Subtract

Looks at the color information in each channel and subtracts the blend color from the base color. In 8- and 16-bit images, any resulting negative values are clipped to zero.

Divide

Looks at the color information in each channel and divides the blend color from the base color.

Hue

Creates a result color with the luminance and saturation of the base color and the hue of the blend color.

Saturation

Creates a result color with the luminance and hue of the base color and the saturation of the blend color. Painting with this mode in an area with no (0) saturation (gray) causes no change.

Color

Creates a result color with the luminance of the base color and the hue and saturation of the blend color. This preserves the gray levels in the image and is useful for coloring monochrome images and for tinting color images.

Luminosity

Creates a result color with the hue and saturation of the base color and the luminance of the blend color. This mode creates the inverse effect of Color mode.

Lighter Color

Compares the total of all channel values for the blend and base color and displays the higher value color. Lighter Color does not produce a third color, which can result from the Lighten blend, because it chooses the highest channel values from both the base and blend color to create the result color.

Darker Color

Compares the total of all channel values for the blend and base color and displays the lower value color. Darker Color does not produce a third color, which can result from the Darken blend, because it chooses the lowest channel values from both the base and the blend color to create the result color. 2. Tints and shades a tint is a mixture of a color with white, which reduces darkness. , a shade is a mixture with black, which increases darkness.

A tone is produced either by mixing a color with grey, or by both tinting and shading.

Tints, tones, and shades are variations of the hues found on the basic color wheel when white, black or both are mixed in. To illustrate this, I painted a Tint, Tone and Shade color wheel using Liquitex Basics acrylic paint for each of the 6 primary and secondary colors.

At the center of the wheel I have painted the six primary and secondary hues, just as in the color wheel shown above. Paints straight out of the tube vary by manufacturer and can skew towards cool (having qualities of the blue side of the color spectrum) or warm (having qualities of the red and yellow sides of the spectrum). Compare thehues below to the color wheel I

noticed here that the Liquitex Basics “Primary Red” hue skews cool, as you’ll see.

Let’s break down the other rings of the wheel:

Tints are created when you add white to any hue on the color wheel. This will lighten and desaturate the hue, making it less intense. Tints are often referred to as pastel colors, and many feel they are calmer, quieter colors. To make the tints below, I used equal parts white and the hue straight from the bottle.

Again, the amounts needed will vary by manufacturer and paint variety, depending on the intensity of the pigment in a given paint.

Tones are created when you add both black and white to a hue. You could also saygrey has been added. Depending on the proportions of black, white and the original hue used, tones can be darker or lighter than the original hue, and will also appear less saturated or intense than the original hue.

Tones can reveal subtle and complex qualities in a hue or combination of hues, and are more true to the way we see colors in the real world.

Shades are created when only black is added to a hue. This results in a rich, often more intense and darker color. Because of the overpowering nature of many black pigments, adding black to a hue is a tricky and sometimes

frustrating exercise when mixing paint. Many blacks will change the character of a hue even in small amounts, so they should be used sparingly. Alternatively, a hue can often be made darker by adding another dark hue rather than black. Testing different mixtures is the best approach.

3.2: Apply underpainting technique

There are several different types of underpainting, such as veneda, verdaccio, morellone and grisaille.

Underpainting gets its name because it is painting that is intended to be painted over (see overpainting) in a system of working in layers.

• Grisaille: Black or grey tonal underpainting.

• Open Grisaille: Just black thinned and layered, relatively transparent as opposed to a closed Grisaille.

• Closed Grisaille: White is used in addition to black and is generally thicker and more opaque.

• Dead Layer & Dead Colouring: Alternate names for Closed Grisaille. • Achromatic meaning Greyscale or Neutral.

• Monochrome meaning single Colour or Hue.

• Brunaille - Brown tonal underpainting.

• Verdaccio: Varying mix of black, white, and yellow pigments creating a grey, yellow or soft greenish-brown colour.

• Washing - Opaque paint used as a glaze, semi-transparent by its thining rather than nature, often cloudy.

• Wash: A thin layer of any paint broadly applied.

• Glazing - Transparent layer of paint intended to tint and add depth to the colour below. This technique can be instigated during the underpainting.

• Imprimatura is an initial stain of colour providing a painter with a transparent, toned ground,

• Ground: A colour, wash or stain applied to or built into the surface prior to either the

underpainting or direct method and is essentially just a coloured base to work over, not considered an underpainting as such. 3.3: Apply painting features The Paint Tools (Tools menu)

3.1. Common Features

The GIMP Toolbox includes thirteen “paint tools”, all grouped together at the bottom (in the default arrangement).

Figure 14.39. The Paint Tools (Tools Box)

The feature they all have in common is that all of them are used by moving the pointer across the image display, creating brush-strokes. Four of them

• the Pencil,

• the Paintbrush,

• the Airbrush and

• the Ink tool and MyPaint brushes, a new feature in Gimp-2.10.6, behave like the intuitive notion of “painting” with a brush. Pencil, Paintbrush, and Airbrush are called “basic painting tools” or brush tools.

The other tools use a brush to modify an image in some way rather than paint on it:

• the Bucket Fill fills with color or pattern;

• the Gradient fills with gradients;

• the Eraser erases;

• the Clone tool copies from a pattern, or image;

• the Perspective Clone tool copies into a changed perspective;

• the Heal tool corrects small defects; • the Convolve tool blurs or sharpens;

• the Smudge tool smears;

• and the Dodge/Burn tool lightens or darkens.

The advantages of using GIMP with a tablet instead of a mouse probably show up more clearly for brush tools than anywhere else: the gain in fine control is invaluable. These tools also have special “Pressure sensitivity” options that are only usable with a tablet.

In addition to the more common “hands-on” method, it is possible to apply paint tools in an automated way, by creating a selection or path and then “stroking” it. You can choose to stroke with any of the paint tools, including nonstandard ones such as the Eraser, Smudge tool, etc., and any options you set for the tool will be applied. See the section on Stroking for more information.

3.1.1. Key modifiers

Ctrl Holding down Ctrl the key has a special effect on every paint tool. For the Pencil, Paintbrush, Airbrush, Ink, and Eraser, it switches them into “color picker” mode, so that clicking on an image pixel causes GIMP's foreground to be set to the active layer's color at that point Ctrl (or, for the Eraser, GIMP's background color). For the Ctrl Clone tool, the key switches it into a mode where clicking sets the reference point for copying. For the Convolve tool, the key switches between blur and sharpen modes; for the Dodge/Burn tool, it switches Shift between dodging and burning.

Holding down Shift the key has the same effect on most paint tools:

it places the tool into straight line mode. To create a straight line with any of the paint tools, Shift first click on the starting point, then press the key. As long as you hold it down, you will see a thin line connecting the previously Shift clicked point with the current pointer location. If you click again, while continuing to hold down the key, a straight line will be rendered. You can continue this process to create a series of connected line segments.

Ctrl + Shift Holding down both keys puts the tool into constrained straight line mode. This is Shift similar to the effect of the key alone, except that the orientation of the line is constrained to the nearest multiple of 15 degrees. Use this if you want to create perfect horizontal, vertical, or diagonal lines.

3.1.2. Tool Options

Figure 14.40. Tool opt ions shared by paint tools

Many tool options are shared by several paint tools: these are described here. Options that apply only to one specific tool, or to a small number of tools, are described in the sections devoted to those tools. Mode

The Mode drop-down list provides a selection of paint application modes. As with the opacity, the easiest way to understand what the Mode setting does is to imagine that the paint is actually applied to a layer above the layer you are working on, with the layer combination mode in the Layers dialog set to the selected mode. You can obtain a great variety of special effects in this way. The Mode option is only usable for tools that can be thought of as adding color to the image: the Pencil, Paintbrush, Airbrush, Ink, and Clone tools. For the other paint tools, the option appears for the sake of consistency but is always grayed out. A list of modes can be found in Section 2, “Layer Modes”. In this list, some modes are particular and are described below.

Opacity

The Opacity slider sets the transparency level for the brush operation. To understand how it works, imagine that instead of altering the active layer, the tool creates a transparent layer above the active layer and acts on that layer. Changing Opacity in the Tool Options has the same effect that changing opacity in the Layers dialog would have in the latter situation. It controls the “strength” of all paint tools, not just those that paint on the active layer. In the case of the Eraser, this can come across as a bit confusing: it works out that the higher the “opacity” is, the more transparency you get.

Brush

The brush determines how much of the image is affected by the tool, and how it is affected, when you trace out a brushstroke with the pointer. GIMP allows you to use several different types of brushes, which are described in the Brushes section. The same brush choices are available for all paint tools except the Ink tool, which uses a unique type of procedurally generated brush. The colors of a brush only come into play for tools where they are meaningful: the Pencil, Paintbrush, and Airbrush tools. For the other paint tools, only the intensity distribution of a brush is relevant.

Size This option lets you to modify precisely the size of the brush. You can use the arrow keys to vary by ±0.01 or the Page-Up and Page-Down keys to vary by ±1.00. You can obtain the same result if you have correctly set your mouse- wheel in the Preferences. See How to vary the size of a brush

Aspect Ratio

This determines the ratio between the height and the width of the brush. The slider is scaled from -20.00 to 20.00 with the default value set to 0.00. A negative value from 0.00 to -20 will narrow the height of the brush while a positive value between 0.00 and 20.00 indicates the narrowing rate of the width of the brush.

Angle

This option makes the brush turn round its center. This is visible if the brush is not circular or made from a rotated figure.

Spacing

This option sets the distance between the brush marks in a stroke.

Figure 14.41. Spacing option

Different spacings

Hardness Modifies the size of the brush hard center.

Figure 14.42. Hardness option

On the left: hardness=50 On the right: hardness=100.

3.3: Apply painting features

How do you create a strong focal point in photos? Strong focal point . What makes focal point composition so interesting, is that there are many ways to enhance a main focal point, or create multiple focal points to tell a story. Our eyes are naturally drawn to:

• Areas of sharp focus

• The light areas of a scene

• Areas of high contrast

• Identifiable objects that are closest to camera and therefore larger

• Faces, specifically eyes

• Humans and animals

• Warm colors

Composition techniques to enhance the focal point Knowing this, we can draw the viewer’s attention to the focal point and strengthen the image with these composition techniques:

1. Selective focus

2. Rule of thirds and Golden ratio

3. Leading lines 4. Rule of odds 5. Contrast

6. Color

Unit4. Apply Texture and pattern 4.1 Use texture and Pattern to create Movement and Rhythm Composition

• Patterns are structures with a geometric quality. When objects are arranged in a recognizable and repeatable structure they form a pattern.

• Textures are structures with irregular surface activity. When objects are arranged in a random or varying pattern they form a texture. Both patterns and textures are attributes we add to our design elements.

impasto effect, or the addition of materials...

Simulated texture

Simulated texture involves creating the visual effect of texture without actually adding it. For instance, a texture may be created to look like something other than paint on a flat surface Abstract texture

Abstract texture does not directly represent the object it is connected with but the concept of the object is translated in textural patterns.

Invented texture

Invented texture is a creative way of adding alternate materials to create an interesting texture. This texture typically appears in abstract works, as they are entirely non- objective.

Needle texture

Needle texture is a creative way of painting in which small, distinct lines of color are applied in patterns to form an texture image

Rhythm

When you repeat elements, the intervals between those repetitions can create a sense of rhythm in the viewer and a sense of movement. Musicians create rhythm in the spacing between notes, effectively making these “silent” gaps play off the notes. Designers insert spacing between elements to make rhythm. There are, broadly speaking, five types of visual rhythm.

Random rhythm – Repeating elements with no specific regular interval creates random rhythms. The spacing could be a millimeter here, a centimeter there, while the elements could be all over the place.

Regular rhythm – Like the beating of a heart, the regular rhythm follows the same intervals over and over again. You can easily make a regular rhythm just by creating a grid or a series of vertical lines.

Alternating rhythm – You can repeat more than one element in a design. In an alternating design, you use a 1-2-1-2-1-2 pattern. Think of the black and white squares on a chessboard: that’s an alternating rhythm in play.

Flowing rhythm – A flowing rhythm shows the repeated elements following bends, curves, and undulations. In nature, you can see this in the waves on a beach or sand dunes. As designers, we can mimic nature by making wonderful patterns of elements with flowing rhythm.

Progressive rhythm – We can make a progressive rhythm simply by changing one characteristic of a motif as we repeat it. We could draw a series of circles, one above the other, making each lower one larger

4.2. Create patterns and textures interaction with lights and colors C. Aspects of Texture 1. Surface Contour is the deviation from smooth — The greater the deviation the more visually textured — The more textured a surface the larger the object appears, as it is perceived as a tiny pattern — Coarse texture enlarges more than a fine one and can hide seams 2. Surface Friction is the resistance to slipping/slide Wet looking, scratchy, clammy, sticky, rough, unbreathing 3. Thermal Character or how surface feels to the touch — Elicits physical reactions and evokes psychological perceptions Rough surfaces not only looks warm they evokes warmth Shiny polished surfaces not only look cool they evokes coolness

4. Hand refers to the tactile qualities of a manipulated three-dimensional substance — Flexibility = supple - rigid Ability to drape softly or retain a shape — Compressibility = response to crumpling Ability to bend and fold — Extensibility = ability to stretch and conform — Resilience = ability to spring back or resist wrinkling

— Density = weight per volume Described as thick, thin, coarse, fine, porous Ranges from fine - coarse Structurally open to compact Measured in thickness -- thin or bulky/thick D. Texture interaction with light according to degree of smoothness Refraction, absorption, reflection Transparent = refraction

Translucent = refraction and reflection

Opaque = absorption

we will focus on three specific behaviors - reflection, refraction and diffraction. A wave doesn't just stop when it reaches the end of the medium. Rather, a wave will undergo certain behaviors when it encounters the end of the medium. Specifically, there will be some reflection off the boundary and some transmission into the new medium. The transmitted wave undergoes refraction (or bending) if it approaches the boundary at an angle. If the boundary is merely an obstacle implanted within the medium, and if the dimensions of the obstacle are smaller than the wavelength of the wave, then there will be very noticeable diffraction of the wave around the object. Each one of these behaviors - reflection, refraction and diffraction - is characterized by specific conceptual principles and mathematical equations.

Reflection of Light Waves All waves are known to undergo reflection or the bouncing off of an obstacle. Most people are very accustomed to the fact that light waves also undergo reflection. The reflection of light waves off of a mirrored surface results in the formation of an image. One characteristic of wave reflection is that the angle at which the wave approaches a flat reflecting surface is equal to the angle at which the wave leaves the surface. This characteristic is observed for water waves and sound waves. It is also observed for light waves. Light, like any wave, follows the law of reflection when bouncing off surfaces.

Refraction of Light Waves All waves are known to undergo refraction when they pass from one medium to another medium. That is, when a wavefront crosses the boundary between two media, the direction that the wavefront is moving undergoes a sudden change; the path is "bent." This behavior of wave

refraction can be described by both conceptual and mathematical principles. First, the direction of "bending" is dependent upon the relative speed of the two media. A wave will bend one way when it passes from a medium in which it travels slowly into a medium in which it travels fast; and if moving from a fast medium to a slow medium, the wavefront will bend in the opposite direction. Second, the amount of bending is dependent upon the actual speeds of the two media on each side of the boundary. The amount of bending is a measurable behavior that follows distinct mathematical equations. These equations are based upon the speeds of the wave in the two media and the angles at which the wave approaches and departs from the boundary. Light, like any wave, is known to refract as it passes from one medium into another medium. In fact, a study of the refraction of light reveals that its refractive behavior follows the same conceptual and mathematical rules that govern the refractive behavior of other waves such as water waves and sound waves.

Diffraction of Light Waves Reflection involves a change in direction of waves when they bounce off a barrier. Refraction of waves involves a change in the direction of waves as they pass from one medium to another. And diffraction involves a change in direction of waves as they pass through an opening or around an obstacle in their path. Water waves have the ability to travel around corners, around obstacles and through openings. Sound waves do the same. But what about light? Do light waves bend around obstacles and through openings? If they do, then it would provide still more evidence to support the belief that light behaves as a wave. When light encounters an obstacle in its path, the obstacle blocks the light and tends to cause the formation of a shadow in the region behind the obstacle. Light does not exhibit a very noticeable ability to bend around the obstacle and fill in the region behind it with light. Nonetheless, light does diffract around obstacles. In fact, if you observe a shadow carefully, you will notice that its edges are extremely fuzzy. Interference effects occur due to the diffraction of light around different sides of the object, causing the shadow of the object to be fuzzy. This is often demonstrated in a Physics classroom with a laser light and penny demonstration. Light diffracting around the right edge of a penny can constructively and destructively interfere with light diffracting around the left edge of the penny. The result is that an interference pattern is created; the pattern consists of alternating rings of light and darkness. Such a pattern is only noticeable if a narrow beam of monochromatic light (i.e., single wavelength light) is passed directed at the penny. The photograph at the right shows an interference pattern created in this manner. Since, light waves are diffracting around the edges of the penny, the waves are broken up into different wave fronts that converge at a point on a screen to produce the interference pattern shown in the photograph. Can you explain this phenomenon with a strictly particle-view of light? This amazing penny diffraction demonstration provides another reason why believing that light has a wavelike

nature makes cents (I mean "sense").

E. Texture and Color

Understanding Color

1. Color looks different reflected from different surfaces Ex. Red might appear dull pink if a napped fabric is turned with the nap yet rich red when viewed into the nap 2. Colors seem lighter on a shiny surface/ darker on a dull surface

3. Wet surfaces change color and some change transparent quality (paper & fabric)

What is Color? Color is all around us. It is a sensation that adds excitement and emotion to our lives. Everything from the cloths we wear, to the pictures we paint revolves around color. Without color; the world (especially RGB World) would be a much less beautiful place. Color can also be used to describe emotions; we can be red hot, feeling blue, or be green with envy. In order to understand color we need a brief overview of light. Without light, there would be no color, and hence no RGB World. Thank God for light! Light is made up of energy waves which are grouped together in what is called a spectrum. Light that appears white to us, such as light from the sun, is actually composed of many colors. The wavelengths of light are not colored, but produce the sensation of color. Visible light - The wavelengths our eyes can detect is only a small portion of the electromagnetic energy spectrum. We call

this the visible light spectrum. At one end of the visible spectrum are the short wavelengths of light we perceive as blue. At the other end of the visible spectrum are the longer wavelengths of light we perceive as red. All the other colors we can see in nature are found somewhere along the spectrum between blue and red. Beyond the limits at each end of the visible spectrum are the short wavelengths of ultraviolet light and Xrays and the long wavelengths of infrared radiation and radio waves, which are not visible to the human eye.

Primary Colors (back to top)

If the visible portion of the light spectrum is divided into thirds, the predominant colors are red, green and blue. These three colors are considered the primary colors of the visible light spectrum. Primary colors can be arranged in a circle, commonly refered to as a color wheel. Red, green and blue (RGB) form a triangle on the color wheel. In between the primary colors are the secondary colors, cyan, magenta and yellow (CMY), which form another triangle. The media and methods used to reproduce color include color paintings, printing presses, color film, color monitors, color printers, etc. There are only two basic ways, however, of reproducing color... additive and subtractive.

Additive Color System (RGB) (back to top)

The additive color system involves light emitted directly from a source, before an object reflects the light. The additive reproduction process mixes various amounts of red, green and blue light to produce other colors. Combining one of these additive primary colors with another produces the additive secondary colors cyan, magenta, yellow. Combining all three primary colors produces white. Television and computer monitors create color using the primary colors of light. Each pixel on a monitor screen starts out as black. When the red, green and blue phosphors of a pixel are illuminated simultaneously, that pixel becomes white. This phenomenon is called additive color. To illustrate additive color, imagine three spotlights, one red, one green and one blue focused from the back of an ice arena

on skaters in an ice show. Where the blue and green spotlights overlap, the color cyan is produced; where the blue and red spotlights overlap, the color magenta is produced; where the red and green spotlights overlap the color yellow is produced. When added together, red, green and blue lights produce what we perceive as white light. As mentioned before, television screens and computer monitors are examples of systems that use additive color. Thousands of red, green and blue phosphor dots make up the images on video monitors. The phosphor dots emit light when activated electronically, and it is the combination of different intensities of red, green and blue phosphor dots that produces all the colors on a video monitor. Because the dots are so small and close together, we do not see them individually, but see the colors formed by the mixture of light. Colors often vary from one monitor to another. This is not new information to anyone who has visited an electronics store with various brands of televisions on display. Also, colors on monitors change over time. Currently, there are no color standards for the phosphors used in manufacturing monitors for the graphics arts industry. All image capture devices utilize the additive color system to gather the information needed to reproduce a color image. These devices include digital cameras, flatbed scanners, drum scanners, and video cameras. To summarize: Additive color involves the use of colored lights. It starts with darkness and mixes red, green and blue light together to produce other colors. When combined, the additive primary colors produce the appearance of white.

Subractive Color System (CMY) (back to top)

Photographs, magazines and other objects of nature such as an apple; create color by subtracting or absorbing certain wavelengths of color while reflecting other wavelengths back to the viewer. This phenomenon is called subtractive color. A red apple is a good example of subtractive color; the apple really has no color; it has no light energy of its own, it merely reflects the wavelengths of white light that cause us to see red and absorbs most of the other wavelengths which evokes the sensation of red. The viewer (or detector) can be the human eye, film

in a camera or a light-sensing instrument. The subtractive color system involves colorants and reflected light. Subtractive color starts with an object (often a substrate such as paper or canvas) that reflects light and uses colorants (such as pigments or dyes) to subtract portions of the white light illuminating an object to produce other colors. If an object reflects all the white light back to the viewer, it appears white. If an object absorbs (subtracts) all the light illuminating it, no light is reflected back to the viewer and it appears black. It is the subtractive process that allows everyday objects around us to show color. Color paintings, color photography and all color printing processes use the subtractive process to reproduce color. In these cases, the reflective substrate is canvas (paintings) or paper (photographs, prints), which is usually white.

Printing presses use color inks that act as filters and subtract portions of the white light striking the image on paper to produce other colors. Printing inks are transparent, which allows light to pass through to and reflect off of the paper base. It is the paper that reflects any unabsorbed light back to the viewer. The offset printing process uses cyan, magenta and yellow (CMY) process color inks and a fourth ink, black. The black printing ink is designated K to avoid confusion with B for blue. Overprinting one transparent printing ink with another produces the subtractive secondary colors, red, green, blue. The illustrations below show process inks printed on white paper. Each process printing ink (cyan, magenta, yellow) absorbs or subtracts certain portions of white light and reflects other portions back to the viewer. Process printing inks are transparent. It is the paper that reflects unabsorbed light back to the viewer.

To be reproducible on press, an original color image, such as a photograph, must first be converted into a pattern of small dots for each of the four colors (CMYK). When printed with ink on paper, the small dots fool the eye and give the visual appearance of the original Image. To summarize: Subtractive color involves colorants and reflected light. It uses cyan, magenta and yellow pigments or dyes to subtract portions of white light illuminating an object to produce other colors. When combined in equal amounts, pure subtractive primary colors produce the appearance of black.

II. PATTERN

Technically pattern is not a design element because it equals line, space, and shape but we will treat it as one in practice because it has its own visual effects and independent life with psychological and physical effects

A. Aspects of Pattern 1. Sources = Nature, man-made objects, imagination, symbolism

Pattern is made by repeating or echoing the elements of an artwork to communicate a sense of balance, harmony, contrast, rhythm or movement.

There are two basic types of pattern in art: Natural Pattern and Man-Made Pattern. Both natural and man-made patterns can be regular or irregular, organic or geometric, structural or decorative, positive or negative and repeating or random.

Natural Pattern: Pattern in art is often based on the inspiration we get from observing the natural patterns that occur in nature. We can see these in the shape of a leaf and the branches of a tree, the structure of a crystal, the spiral of a shell, the symmetry of a snowflake and the camouflage and signalling patterns on animals, fish and insects.

Man-Made Pattern: Pattern in art is used for both structural and decorative purposes. For example, an artist may plan the basic structure of an artwork by creating a compositional pattern of lines and shapes. Within that composition he/she may develop its visual elements to create a more decorative pattern of color, tone and texture across the work.

Examples of the Use of Pattern in Art

Visual Elements - Pattern

Click here for our selection of great artworks that have been chosen because they all use pattern in an inspirational manner. We have analyzed each of these to demonstrate how great artists use pattern as a creative force in their work.

2. Interpretation of source = realistic, stylized, abstract, geometric 3. Arrangement a. All-over — same effect from any direction b. Four-way — same effect in both directions 90 degree turn c. Two-way — same effect when turned 180 degrees d. One-way — same effect from only one direction e. Border — main motifs along edge

f. Spaced — relationship to the area occupied _ Accent one place _ Follow and fill a part of object structure according to shape of part _ Fill area of object in one single composition ex. Scarf, tablecloth, wallpaper, mural D. Pattern and structural design 1. Pattern that follows structural contours agrees most easily and logically with structural design

2. Pattern and structure compatibility allows harmony

3. Pattern can create motion ex. Pleated skirt in striped fabric

4. Location of motifs (especially large ones) 5. Size of motif should be used in relation to size of object or part 6. Combination of pattern and plain areas create simultaneous contrast _ Plain areas emphasize business of pattern

_ Patterned areas emphasize empty space

4.3: Unify 2D composition

Elements of Composition

The elements of composition in art are used to arrange or organize the visual components in a way that is pleasing to the artist and, one hopes, the viewer. They help give structure to the layout of the painting and the way the subject is presented. They can also encourage or lead the viewer's eye to wander around the whole painting, taking in everything and ultimately coming back to rest on the focal point. In Western art the elements of composition are generally considered to be:

• Unity: Do all the parts of the composition feel as if they belong together, or does something feel stuck on, awkwardly out of place?

• Balance: Refers to the equalization of elements in a work of art. -There are three kinds of balance:

1. symmetrical- formal, divided in half same

2. asymmetrical- informal, divided in half not same

3. radial- circular, design starts from center > out

• Movement: There are many ways to give a sense of movement in a painting, such as the arrangement of objects, the position of figures, the flow of a river. You can use leading lines (a photography term applicable to painting) to direct the viewer's eye into and around the painting. Leading

lines can be actual lines, such as the lines of a fence or railroad, or they can be implied lines, such as a row of trees or curve of stones or circles.

• Rhythm: In much the same way music does, a piece of art can have a rhythm or underlying beat that leads your eye to view the artwork at a certain pace. Look for the large underlying shapes (squares, triangles, etc.) and repeated color.

• Focus (or Emphasis): The viewer's eye ultimately wants to rest on the "most important" thing or focal point in the painting, otherwise the eye feels lost, wandering around in space.

• Contrast: Paintings with high contrast—strong differences between light and dark, for example—have a different feel than paintings with minimal contrast in light and dark, such as in Whistler Nocturne series. In addition to light and dark, contrast can be differences in shape, color, size, texture, type of line, etc.

• Pattern: A regular repetition of lines, shapes, colors, or values in a composition.

• Proportion: How things fit together and relate to each other in terms of size and scale; whether big or small, nearby or distant.

REFERENCES

1. Kevinring done elements and principle of design 2. Internet research

3. Drawing books

LOOK OF ASSIGNMENTS AND EXERCISE IN LAST PAGE

1. Define the following terms.

a) Composition

b) Surface Friction

c) Surface Contour 2. State at least five (5) principle of design. 3. State five (5) computer hardware and software tools for a 2 D designer.

4. Provide five (5) sources where designers find information on their design projects. Using simple sketches differentiate symmetric balance from asymmetric balance. Outline ten (10) Line Drawing Techniques. 5. Enumerate six (6) Composition techniques to enhance the focal point. 6. Describe Rule of Thirds. 7. Describe Shot composition.

8. Describe Rhythm. 9. Demonstrate the Texture interaction with light according to degree of smoothness. 10. With drawings, describe step by step how to draw a golden rectangle and Spiral golden. 11. Illustrate the following light effects on a spherical object: a) light source b) Highlight

c) core shadow

d) cast shadow

e) Reflect light 14. As a 2D, designer in Kigali animation club, create the following designs using basic geometric shapes: triangle, square, rectangle and circle. a) Draw a 2 D cartoon character.

b)Draw in 2D, any object you can find at home.

15. Describe a pattern in design

16. Describe a texture in motifs

17. Outline four(4) types of texture in art and explain them. 18. Describe a balance in design 19. State and Explain The elements of composition in art

20. Define the following terms a. Strong focal point b. Blending modes 21. Give the different types of under painting techniques

22. State six kinds blending mode. 23. Differentiate tints from shades 24. Outline the four tools painting software to use in design. 25. Define the following terms

d) Focal Point

e) Linear perspective

f) Vanishing point

26. Outline the types of perspective and explain them.

12. Define the following terms g) Shapes

h) Form i) Fibonacci sequence

29. Draw and name ten (10) types of lines.

30. With drawings, describe step by step how to draw a golden rectangle and Spiral golden.

31. State shots compositions

32. Give the common angles do you know?

33. There are Six Ways to Create the Illusion of Space, enumerate and explain them.

34. By using schemes show different between 2D and 3D.

35. Choose the correct answer: a) If the objects in drawing appear to have depth, they were drawn with the proper - Shading

- perspective

- Technique