SPACE AND VOLUME. PROCEDURES AND TECHNIQUES

SPACE AND VOLUME. PROCEDURES AND TECHNIQUES

1. RELATIONS OF PROXIMITY AND DISTANCE BETWEEN FLAT FORMS

   • To organise space correctly and to create a sense of depth in artistic representation

2. Different sizes

   • To create space or a sense of depth, we put the bigger fig- ures in the bottom part of the picture. We put the smaller figures further away

3. Superimposition or overlapping

   • When two or more flat figures are superimposed the ones on top are positioned in front and closer to the viewer

4. Transparency

   • variant of the superimposition criterion
   • figures behind are seen in a veiled way through the ones in front

5. Contrast

   • In colours
     • Warm colours give a sense of proximity, while cool colours (blue, green...) give a sense of depth and distance.
   • In the definition of forms
     • Forms represented with clear outlines and details seem closer, while forms that are further away appear less defined.

6. CHIAROSCURO

   • Define the volume of repre- sented objects
   • plays the same visual game as light and shadow
     • allows observers to perceive relief in a drawing
   • Light
     • Natural
     • Artificial
     • Rays of sunlight, considered parallel, form a cylindrical beam while artificial light comes from a single point and has a beam shaped like a cone.
     • Direct
     • Reflected
   • Shadow
     • Form
     • Cast
     • Form shadows appear on the object that receives light
       • This same light source projects a cast shadow on a horizontal (ground), vertical (wall) or sloped plane
   • Tones
     • distribute shadows in drawings. Brightness determines the tone value, making the idea of colour seem abstract
       • indicates its situation in greyscale between white and black.
     • Value
       • Value
         • Highlight
         • middle tone
           • intermediate values between light and shadow
         • Shadow
         • Reflection
         • Reflection

7. DRAWING TECHNIQUES

   • Pencils
     • Lead
       • Hard pencil lead
         • Finer
         • has a pale grey stroke
         • feels dry and rough
         • used hard lead for linear drawing and outline definition.
       • Soft leads
         • thicker
         • more brittle
         • offer a darker, oilier, softer stroke.
         • More strokes on the paper increase their value
         • easily spreads when blurred on paper
         • Freehand drawing and shading are its main uses.
   • Charcoal
     • small bar of vegetable coal
     • use charcoal to make intense strokes, stripes and smudges quicker than a pencil.
     • Depending on the desired effect, they may use it tipped, sloped or practically flat
     • needs paper with a thicker grain than for pencils because its surface absorbs better and permits blurring of these fine bits of coal
     • composition
       • requires sketching or drawing during the first phase

8. COLOUR AND PAINTING TECHNIQUES

   • Coloured pencils
     • so affordable and practical
     • Use of a thicker, more resistant paper is essential.
   • Pastels and wax crayons
     • dried paints glued together with a similar liquid as charcoal
     • s apply a certain degree of pressure when using them on thick, coloured paper
     • Steps
       • Sketch the pattern with a pencil or a neutral coloured stick
       • Define the figures and outlines first,
       • Draw the different elements with suitable colours
       • Identify the most intense shadow zone (darkest colour) and use the corresponding tone to convey this on paper.

9. ENGRAVING

   • stamp obtained from printing a mould
   • has arisen from the need to recreate original pieces of art
   • the chiaroscuro technique quickly replaced this method
   • Four types of printing exist
     • Relief printing
       • prints the uncut area
     • Hole printing
       • the etched area forms the stamp. Ink spreads over the grooves produced during the en- graving process with drypoint, burin or etching
     • Planographic printing:
       • based on the repulsive principle between oil and water
     • Screen printing
       • a permanent stamping procedure with stencils

10. COLLAGE

    • Different pieces of material glued onto a surface form a composition
    • Procedure to create a collage
      • Paper and cardboard
      • Solid materials
        • Pieces of wood
        • Fabrics
        • Metals
        • Other objects

11. THE CREATIVE PROCESS

    • chronological order of phases to follow that define how we apply our creativity
    • Preparation.
    • Conversion of information into ideas
    • Evaluation.
    • Production
    • Sketches and rough sketches
      • a project during the drawing phase
      • the shape and proportions with very few lines
      • characteristics
        • Express an idea through sketches that directly reproduce the real or imag- ined image of the author with a few strokes.
        • Use of essential strokes that express the entire piece and suggest the result to the observer

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