Study-Guide-Part 3

Study Guide in Pencil Monochromatic FM-AA-CIA-15 Rev.
0 03-June-2020
(Course Code & Title) AVT 111-VISUAL TECHNIQUES 1 Module 1 _____________ (Unit/Chapter Title)
Chapter 3: Principles of Freehand Drawing

3.1 Composition and its Characteristic
In this lesson you will practice drawing a still life using already familiar simple geometrical
objects.
Still life
An arrangement of several objects. The composition is an arrangement of elements of the
artwork that unites the elements into one whole. Pay careful attention to the object
placement inside the drawing from the beginning.
There must be a balance between the drawn objects and the space around them. In other
words, the drawn objects should not be too small or too big, "fall off" from the paper or be
shifted to the left or to the right. This is the first stage of drawing the still life. The next
important part is the proportions of the objects. The proportion is the interrelation between
two or more magnitudes.
Notice the relations between the sizes of the shapes. Take time to measure the `relations
between the objects.
Composition is a complex and important subject in painting.
Example of a balanced composition
Do you think the composition is balanced? You may ask yourself the following questions
while drawing:
* Would moving the objects to the left/right/up/down make the image look more
balanced?
* Would "zooming in" or "zooming out" from the picture make it look more balanced?
* Are the spaces between the objects balanced?
Unbalanced composition example.
PANGASINAN STATE UNIVERSITY 1

Study Guide in Pencil Monochromatic FM-AA-CIA-15 Rev. 0 03-June-2020
Bad composition example,
The objects are too small compared to the size of the paper.
To put it as simply as possible, composition is an arrangement of elements that makes us
see them as a whole.
Composition means the arrangement of parts to produce a whole, and is good when the
effect produced is harmonious and pleasing.
Multiple Composition

Composition means, literally and simply, putting several things together, so as to make
one thing out of them.
Composition
In a more practical sense, composition is the relation between the elements of the picture.
And this relation, not the elements, is the first thing we notice. At the same time, it's
actually invisible for us. It's like the skeleton of a living creature—you can't see the bones,
but they make the body look like it does. Without the skeleton there would be no form.

Important to consider:
Drawing is a complex skill. You need to learn things like manual skill, pencil techniques,
precision, perspective, gesture, anatomy, light and shadow... But even when you're a
master of it all, even if your picture has all these elements in place, there still may be
something wrong with it. This elusive factor is called composition.
3.1.1 Key Elements of Composition
A. Framing
• using foreground devices to frame the image area
• using foreground devices to direct the attention toward the “theme,” which is
placed near the center of the page
For the ground tree, tree trunk
Foreground foliage,
hanging branch, and rocks
Corner of a foreground building

Shadows of trees on the ground
Contrast between dark planes and bright

objects
Framing by balance- strategic placement

of the theme and using the "Void” as a
frame
A. Balance
Balance is way individual elements in your drawing or painting are distributed. Imagine
your drawing as a scale: the items in your drawing should be balanced so that the scale
doesn’t tip one way or the other.
(a) (b) (c)
(a) Unbalanced, (b) Symmetrical Balance, (c) Asymmetrical Balance

Unbalanced: In the first image above, there are too many heavy items on the left, making the
composition unbalanced. Don’t think about the actual weight of the items, but their visual
weight. Large objects carry more visual weight than small objects.
Symmetrical Balance: The second image shows symmetrical balance. While the scale isn’t
toppling over in either direction, symmetry often makes for a less exciting visual
composition.
Asymmetrical Balance: The third image shows asymmetrical balance, which is the most
visually pleasing of the three. There’s an odd number of items grouped together, which is
more interesting than an even number of items. Two of the items are smaller and
grouped together to balance out the weight of the third larger object.
Comparison of balance
The key in learning balance is to avoid equal

emphasis within the same picture frame to
show a static composition
This shows a more dynamic composition by

moving the pivoting point (“p”) off to one side.

This arrangement takes advantage of the

space to the right of “p” and uses it to
balance “A” – a very effective strategy
when used with framing.
B. Contrast
Tonal contrast, difference in lighted and shaded planes, difference between light – shade -
shadow
An example of shade and shadow
An example of Tonal contrast

Tonal contrast at the base of the

canopy is used to separate the trunk
from the canopy
Tonal contrast between building and

the tree trunk
Reflection in water suggests the

height of the building and the
movement of the water’s surface
Tonal contrast between foreground

and background landform suggest
the valley in between
Exercise One: Make a Viewfinder 

Find a piece of cardboard (one wide side of a cereal
box would work fine) and cut a 4-inch by 6-inch
rectangle out of the center of it. Now, find some string
and some tape—you’re going to make your own Rule
of Thirds viewfinder. Mark with a pencil each third
around all sides of the rectangle and tape your string
along those marks. Here’s mine:
Now, walk around your house and look at different objects

through your viewfinder. Try coming up with different
compositions, keeping your focal points along the intersections
of the strings.
Here I have set up a little still life with some objects from my kitchen:

This is my first setup. Let’s see how it

looks through the viewfinder:
Not too bad. Now I will try some other setups:
Another one:
And finally I think this is the winning setup for me.

Now it’s your turn…

REMEMBER:
It is OKAY to fail! These are practice exercises - you are not expected to create all perfect
compositions. Do your best and learn from the feedback you get. If you do not like the
composition you created, move on to another version of the exercise.
3.2 Proportion and its Characteristic

Drawing is about observation. And if you want to
improve your drawing skills, then you must focus
on how you see the subjects that you draw.
Before we get into details about proportioning we

need to understand first the meaning.
Proportion simply refers to the size relationships

between objects. If you want to draw a subject
or scene with accurate proportions, you must
employ proper techniques and train your eyes
over time.
An example of human proportion
When drawing, most of the time is spent on measuring, comparing, re-measuring and re-
comparing. The more time you spend trying to improve the accuracy of your drawing, the
better you will “SEE”.
3.2.1 Drawing Techniques for Accuracy
1. Sighting / Measuring
An example of Sighting / measuring

Steps how it works

1. Extend your arm out toward your subject with your pencil in hand.
2. Be sure that your arm is extended completely without any bending at the elbow.
3. Bring your line of sight down to your shoulder and close one eye.
4. Use the end of your pencil (or the tip) and line it up with the top of the highest or widest
point on the object. Use your thumb to mark the bottom.
Example:
You now have a measurement “unit” that you can use to compare and record the size of
the object on your drawing surface. You can use this measurement to record the object on
the drawing surface or simply make comparisons to what you have already drawn.
You can use the pencil to measure

other objects within the same scene
in the same manner.
And use it to compare the proportional

relationships with the other objects
within the scene to ensure that the
relationships are correct.

This technique works best when drawing

directly from life.
Sighting can be used for three main types of measuring in drawing.
1) Angles, actual and implied

2) Proportion, within a subject and between subjects
3) Horizontal or vertical alignment
Example of using a pencil as measuring stick & to find angles.
Sighting techniques
You can use a pencil for something more than drawing. Your pencil can also be used to
measure angles, gauge relative size, and determine how different features line up on your
subjects’ faces.
A. Horizontal Alignment
Use your pencil to check how
different features line up on your
subject’s face.

B. Angles
Use your pencil to find the angle
between an “anchored” point in
your drawing and a point that you
haven’t drawn yet.
C. Plumb Lines
Use your pencil to see
how different feature line
up vertically on your s
ubject’s face.
D. Axes (Plural of “Axis”)
Try this on your own……

Drawing Exercise :
Still Life Drawing (Dining Furniture such as Table, Chairs ) Task:
1. Use sighting / measuring techniques to draw the object.
2. Observe both the subjects and the space around them. Decide where to place them
and DO NOT draw small.
3. Measure the correct proportions using the sighting techniques
4. Measure the correct angles from your perspective
5. Draw the shape of the object first, then slowly start adding the value to make the
drawing more realistic.
2. The Grid Technique

The grid technique is an approach to drawing that breaks the subject down into “bite-
sized” pieces of visual information.
A grid is drawn over a photo reference while a proportional grid is drawn lightly on the
drawing surface. Each square within the grid on the reference corresponds to a square on
the drawing surface.

This technique works for any subject that you draw, but it is most useful for portraits when
accuracy is of the upmost importance.
Important Notes:
When using this technique, be sure to draw your grid lines very lightly on the drawing
surface. You don’t want the grid lines to be visible when the drawing is complete.
Another example how this really works:
2.a. Grid Drawing Copying with Squares

Size: Same
Aspect Ratio: Same
2.b. Grid Drawing Enlarging with Squares

Size: Different
Aspect Ratio: Same
The drawing surface is twice

the size of the Photo reference.

2.c. Triangular Grid Technique

An alternative to using the traditional grid technique is the triangular grid technique.
With this technique, a grid made of triangles is created on both the photo reference and
the drawing surface. This grid is created by dividing the length and width and then
drawing lines diagonally from each of the corners. This creates eight triangles within the
grid.
How this technique works:

1. Using a compass or proportional divider, measurements can be taken from the photo
reference and then transferred to the drawing surface.
2. The end of the compass is positioned in the center as marks are made in locations where
important bits of information cross over the lines of the grid.
This essentially creates a collection of marks that can be used to draw the contour lines of
the subject – somewhat like “connecting the dots”. Here again, this technique can be
used for drawing any subject, but it is most useful for portraits.

2.d. Identifying Basic Shapes and Positive and Negative Space
Many objects are quite complex, making them seem difficult to draw. However, even the
most complex subjects can be simplified into basic shapes.
When we break subjects down into basic shapes, it becomes easier to be accurate in our
drawing. Instead of letting the details get in the way, we can focus on the simplified
shapes and the relationships of those shapes – leading to greater accuracy in the drawing.
These shapes can be drawn loosely and as we become more confident with the shapes,
we can add the details.
We can go even further with shapes when we lay out a drawing. We can pay attention to
the relationships of positive and negative shapes (spaces) within the scene. The open
areas around the subject form negative shapes.
We can compare the relationships of the positive and negative shapes to ensure that the
proportions are correct.
Example of Basic shape:

Do you see faces or a vase?
If you are seeing a vase,

then you are seeing the
white area as the positive
space. The black areas become
the negative space. If you
are seeing faces, then
you are seeing the black
areas as the positive
space, and the white area
as the negative space.
Example of Positive and Negative Space
Balance of Positive and Negative space
Mostly Negative Space Mostly Positive Space
Balance of positive and negative
2.e Linear Perspective

Linear perspective is a system that uses lines to aid the artist in creating the illusion of
space in a drawing.

It is a structured system that uses a vanishing point (or points) as a reference point for
drawing forms.
Linear perspective can be used for drawing any object in space, it is mostly used for
drawing architectural elements such as buildings, windows, doors, and interior scenes.
A. One Point Perspective – In this form of perspective, one vanishing point is placed on the
horizon line. This type of perspective is typically used when the objects within the scene
are viewed from a “flat” view.
Simple shapes (squares, rectangles, etc.) can be used to describe the objects. To
create the illusion of depth, lines are drawn from the corners of objects back to the
vanishing point.
How to Draw in One Point Perspective Step by Step
Step 1: Begin one point perspective

by drawing a horizontal line
Step 2: The next step in one point
vanishing point on the horizon line.
Step 3: Next, draw a box to represent the

building that you want to draw in
perspective. Step 4: Now, draw lines from all four
corners back to the vanishing point.

Step 5: Next, draw a smaller box that

touches each of the lines that you
drew in the previous step.
Step 6 : Now you can erase the lines
that you no longer need to
reveal a form.
B. Two Point Perspective – Two point perspective differs from one point perspective in that it
uses two vanishing points instead of one. Both vanishing points are placed on the horizon
line with a good amount of space separating them. Instead of starting with the shape of the
object like we do with one point perspective, the corner of the subject is typically drawn first.
Lines are then drawn from each end of the corner back to each of the vanishing points to
facilitate in creating the illusion of space.
C. Three Point Perspective – Three point perspective is used to a lesser degree since it is
mostly reserved for drawings that feature extreme angles. When drawing the subject
from a “worm’s eye view” or a “bird’s eye view”, three point perspective can be
extremely useful. As the name implies, three point perspective utilizes three vanishing
points. Two of the vanishing points are placed on the horizon line while the third is either
placed far above or far below.

2.f. Basic Facial Proportions
Although every face is different, certain approximate facial proportions do exist. We can
use these approximations to ensure that the features of the face are placed in the right
locations and that the size of each of the features are natural.
We still have to observe the face when drawing a portrait, but knowing the general
locations of the eyes, nose, mouth, etc. can help us be sure that what we are putting to
paper is “in line” with what we are observing.
2.g. Figure Proportions and Gesture Drawing
Just as knowledge of basic facial proportions can be used to ensure accuracy in portrait
drawing, knowledge of approximate figure proportions can aid in creating accurate figure
drawings. Every figure is different so it’s important to recognize that there is no “one size
fits all” solution to figure drawing. But combined with careful observation, knowledge of the
basic proportions of the figure certainly helps in creating accurate drawings.
Gesture drawing :
To improve accuracy, especially when drawing the figure. Gesture drawing utilizes quick,
loose lines and shapes to “find” the pose of the figure.
Details are mostly omitted as the focus is to capture the weight and proportion of the figure
in a short amount of time.

After the initial gesture is drawn, you can develop the details of the drawing after you are
confident with the accuracy of the initial sketch.
3.3 Light and Shading

Learning simple form principles will enable you to see the fundamental shapes of
which all of nature is comprised. The cone, the cube, the cylinder and the sphere.
3.3.1 Theory of Light and Shade

Value is the term used to describe light, gray and dark tones.
All neutral tones from white, black and all the gray tones between are called achromatic,
meaning having no color.
All tones that have some color are call chromatic.
A simple Value Scale shows figure-ground relationships
Note how the same mid-tone value patch looks different when placed on backgrounds of
contrasting values.

Chiaroscuro
Renaissance artists manufactured the term “Chiaroscuro” to describe how light and
dark can imply depth and volume.
The word Chiaroscuro is a combination of two Italian words that mean light and dark.
(chiaro (clear, light) + oscuro (obscure, dark) Atmospheric or Ariel perspective was one of
the artistic strategies used in the study of Chiaroscuro during the Renaissance.
(Atmospheric or Ariel perspective is covered in depth in the section “Objective Color
Harmony”.)
Chiaroscuro and the Illusion of creating intuitive space.
A spherical surface demonstrates this as an even flow tone from light to dark. A cast
shadow is created when the source of light is obstructed by the sphere. An angular
surface shows sudden contrast of light and dark.
3.3.2 Light Source and Shadows
A light projected onto an object or figure creates lights, darks, and cast shadows. Your
source of light may be the sun, the moon, a light through a window or an artificial light.
Two Kinds of Shadows
1. Cast Shadow
When an object blocks a light source it casts a shadow. A cast shadow is not a solid shape
but varies in tone and value. The farther a cast shadow is from the object which casts it the
lighter and softer and less defined becomes its edges.

2. Form Shadow
A form shadow is the less defined dark side on an object not facing the light source. A
form shadow has softer less defined edges than a cast shadow. Form shadows are subtle
shadows essential for creating the illusion of volume, mass and depth.
A Light Side and a Dark Side on Round or Circular Surfaces
When one light source is present, I was taught the dark side is “always” darker than
the light side of the object and the light side is “always” lighter than the dark side.
Establishing a definite light side and dark side makes round objects appear round
and defines the form of an object accurately.
The light side in two parts
1. Highlight
The lightest spot or streak is where the light strikes the subject in exactly the middle of
the light side between the shadow edge and the edge of the object. A highlight can
be shinny and crisp on a glass or metallic surface, or fuzzy and muted on a dull or
textured surface.
3. Light middle tones

Note, to avoid confusion, “always” keep the values on the light side lighter than the
values on the dark side. In reverse, the values on the dark side are darker than the
values on the light side. It’s the middle tones on either side that confuse the artist’s
eye in value relationships

The dark side in three parts
Form Shadow in Three Parts
1. “Shadow edge” or “core shadow”

The edge where the light is blocked from the light source is the darkest value on the
dark side. The core or darkest value blends into the middle tones from the shadow
edge on round subjects.
2. Dark middle tone

The variable values blended form the shadow edge on the dark side. Again, the dark
middle tones are darker than any values on the light side. The human eye can trick
the brain into believing the lightest values on the dark side are the same as the darkest
values on the light side. If the artist is confused about lights and darks, the
rendering is less understandable.
3. Reflected light
If the object being painted is sitting on a white table, the light from the table reflects
back onto the object and makes the shadow side lighter. If the object of the painting is
resting by something black or dark, the middle values will become a dark reflection.
Cast Shadows

When the source of light is blocked by an object it casts a shadow. The length and
shape of the cast shadow depends on the placement of the light source.
Long shadows are cast from a side light source (as from the sun in late afternoon or
early evening), and short cast shadows are cast from over head (as from a noonday
sun). The shape a shadow casts depends on the shape of the object casting it and
how close source is to the object.
Cast shadows in three parts

The umbra, penumbra and antumbra are the three distinct names given to the description
of shadows cast by heavenly bodies.
1. The umbra is the darkest part of a shadow considered the absence of light.
2. The penumbra is a lighter outer shadow where the object is only partially obscuring
the light.
3. The antumbra is more obscure. When it is visible it seems to extend out from the
penumbra in a lighter and less distinct way.

Light Source, Cast Shadows and the Axis

Cast Shadow: The Cube
Cast Shadows : The Sphere

The Cylinder and Cone
More on Cast Shadows

Daylight and Cast Shadows
Cast shadows of irregular shapes and in natural sun light are

open for interpretation because of the constant changing
sunlight: As you work on location, the sun will continue
to advance and change what you are drawing.
Note the place you would have the sun

be positioned, and keep that constant to
avoid a confusing spread of
shadows. The nature of shadow is
affected by weather, sunlight,
moonlight, or artificial light.
Shading is the process of applying varying levels of darkness to create the illusion of
form and depth.
How to shade and pencil shading techniques

Shading with a variety of Pencils
HB: Preliminary outlines, some highlights,

first layer of shading. Eye-whites
4B: Mid-tones, light shadow, detailing,

hair, first layer of shading of clothes,
background
6B: Darkest shadows, hair, clothes, dark

areas of background, pupils, inside the
mouth, nostrils
3.3 Portrait pencil shading techniques
1. Hatching
2. Cross Hatching
3. Circulism

4. Contour Shading
Application of Shading Techniques
How to shade smoothly

1. Good pressure control

Maintain consistent
pressure for each
individual stroke.
2. Tight strokes
3. Shadow Lining

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Study Guide in Pencil Monochromatic FM-AA-CIA-15 Rev.

Chapter 3: Principles of Freehand Drawing

Composition is a complex and important subject in painting.

Example of a balanced composition

Unbalanced composition example.

PANGASINAN STATE UNIVERSITY 1

Bad composition example,

PANGASINAN STATE UNIVERSITY 2

PANGASINAN STATE UNIVERSITY 3

3.1.1 Key Elements of Composition

For the ground tree, tree trunk

Corner of a foreground building

PANGASINAN STATE UNIVERSITY 4

Shadows of trees on the ground

Contrast between dark planes and bright

Framing by balance- strategic placement

(a) (b) (c)

(a) Unbalanced, (b) Symmetrical Balance, (c) Asymmetrical Balance

PANGASINAN STATE UNIVERSITY 5

The key in learning balance is to avoid equal

This shows a more dynamic composition by

PANGASINAN STATE UNIVERSITY 6

This arrangement takes advantage of the

An example of shade and shadow

An example of Tonal contrast

PANGASINAN STATE UNIVERSITY 7

Tonal contrast at the base of the

Tonal contrast between building and

Reflection in water suggests the

Tonal contrast between foreground

Exercise One: Make a Viewfinder 

Now, walk around your house and look at different objects

PANGASINAN STATE UNIVERSITY 8

This is my first setup. Let’s see how it

Not too bad. Now I will try some other setups:

And finally I think this is the winning setup for me.

PANGASINAN STATE UNIVERSITY 9

3.2 Proportion and its Characteristic

Before we get into details about proportioning we

Proportion simply refers to the size relationships

An example of human proportion

3.2.1 Drawing Techniques for Accuracy

An example of Sighting / measuring

PANGASINAN STATE UNIVERSITY 10

Steps how it works

You can use the pencil to measure

And use it to compare the proportional

PANGASINAN STATE UNIVERSITY 11

This technique works best when drawing

Sighting can be used for three main types of measuring in drawing.

1) Angles, actual and implied

Example of using a pencil as measuring stick & to find angles.

D. Axes (Plural of “Axis”)

Try this on your own……

2. The Grid Technique

PANGASINAN STATE UNIVERSITY 13

Another example how this really works:

2.a. Grid Drawing Copying with Squares

2.b. Grid Drawing Enlarging with Squares