By Peter Stanyer
Entire publication of Drawing ideas by way of Peter Stanyer. Paperback.
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Extra resources for The Complete Book of Drawing Techniques: A Complete Guide for the Artist
For an object to have an identity, and speak to us as viewers, it must have a context. The artist does this by drawing the space around objects rather than by trying to capture the shapes of individual objects in isolation. Pencil projects C3BF5B70-8CC4-4870-976C-617F626F3B6F This very simple composition is made out of a shape that repeats itself, and yet it is imbued with a sense of time. We can see there is order and balance and that our eye is allowed to move freely through and across the composition.
Triangle. Pyramid shading using vertical lines. C3BF5B70-8CC4-4870-976C-617F626F3B6F Cone: diagonal line shading. 37 Part One – THE PENCIL POSITIVE COMPOSITION Shape as an underlying compositional device is extremely important. In this example, after Malevich, shape is used to bring a sense of order, balance, rhythm, harmony, movement and space to the picture plane. We see the bones of the composition that any great picture has as its structure. We can compare this drawing to Gericault’s Raft of the Medusa.
All those ideas, even the redundant ones are left stored in the sketchbooks for later use. It’s all visual information and that’s what’s important and exciting. COMPOSITION: THE BASIC ELEMENTS Shape can have a very intuitive influence. Only as we become more experienced do we become formally aware of how to construct a composition. Intuitively, the beginner will invariably place the mass of the subject (still life, portrait, whatever) in the middle of the picture plane. In 90 cases out of 100 this placement is a mistake, creating too much of a focal point and not allowing the eye to be taken on a journey across, and into, the rest of the picture plane.