SPACE AND VOLUME. PROCEDURES AND TECHNIQUES

SPACE AND VOLUME. PROCEDURES AND TECHNIQUES

1. RELATIONS OF PROXIMITY AND DISTANCE BETWEEN FLAT FORMS

   • Different sizes
   • Superimposition or overlapping
   • Transparency
   • Contrast

2. CHIAROSCURO

   • Light
     • natural
     • artificial
     • direct
     • reflected
   • Tones
   • value,
   • Highlight
   • middle tone
   • Shadow:
   • • Reflection

3. DRAWING TECHNIQUES

   • Pencils (e the most widely used drawing instruments.)
   • Charcoal (is a small bar of vegetable coal.)

4. COLOUR AND PAINTING TECHNIQUES

   • Coloured pencils
     • Recommendations
       • Use of a thicker, more resistant paper is essential. Keep a close rela- tionship between the coloured lead and the paper grain. Do not press hard or use an object like a point chisel on the drawing. Instead,
   • Pastels and wax crayons
     • 1. Sketch the pattern with a pencil or a neutral coloured stick (de- pending on the colour of the medium).
     • 2. Define the figures and outlines first, just like the drawing process, followed by chiaroscuro zones for shadows using appropriate colours.
     • 3. Draw the different elements with suitable colours.
     • 4. Identify the most intense shadow zone (darkest colour) and use the corresponding tone to convey this on paper. This serves as a reference for light and colour gradation, which extends pastels to other colour zones.

5. ENGRAVING

   • 1. Relief printing
     • Linocutting
     • wood engraving
   • 2. Hole printing
   • 3. Planographic printing (lithography.)
   • 4. Screen printing

6. COLLAGE

   • Procedure to create a collage FORMS:
     • Paper and cardboard
     • Solid materials

7. THE CREATIVE PROCESS

   • PHASES:
     • 1. Preparation.
       • establishing a creative objective
     • 2. Conversion of information into ideas
     • 3. Evaluation
     • 4. Production
     • Sketches and rough sketches (project during the drawing phase)
       • 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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