famous artists course - book 3 lesson 14 - variety in forms - textures and surfaces (1950)

8/13/2019 Famous Artists Course - Book 3 Lesson 14 - Variety in Forms - Textures and Surfaces (1950)

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FcmousArtists Coursea

Instilule of Gommerciol Art,-.u..ltport/ Conno.li.ut

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AL PAIKER BEN IIAH] SIVAN DOHANOS JON WHIICOIAB

ROATR IAWC T PEER HEICK IOHN AIHIRION

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Hrc w. 3how yo o ,.rern l.ndlcope yhich conroint mosl of ihpoinhw eill mok in this l$on. Siudy ii corefullyond re.d ihe.aptionr dccon-pdnying ir, In thi. londs.op. lhr is vori.ryin form, trtur. ond rh inilli,9.1 composilion of vdriour lorne ondtexturs. When eoch element iicorefully coruidrd ondenployed rorectly ih reruh on ef,ectiv ond

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,"..""14omousArlislsCouraeVoriety informs- texlures ond surfocesl.dirureof Conn.rciqlAd, Inc.

Ii thb l.soi ru ot going tostudt thctc lour things:

L vdri.tt inlo/tu2. 1ztut s .rcat..l b peatiae sinilar lotnst. s,face t.xaut.t4. D.coriv. t.rrtl.s

Yov uill .liot, 6,ou l.am tbout thc abot. lovttrbi..ts, thdt th., ar. .lat.d ond pla, con|Lx pa sin making apictur.. To avo;d co.l6io, h@tur, uaE Prcnting .ach subject s.patutcly so you itt gaind .tar dentaading ol each ubiect b its.lj dnd thusb. obL ro bcttd lndctstdbd th.i, .rt ldtion. Thit.oelotion @ill b. d.monttrat..l i4 th. lduclpa ol

l. Voriery ln FormIn Leson 2, yo learned ihi allrodns are variatioN ot lourlundmenl shaps: te rphere, rhe cbe, rhe cone and rhe

.ylinder. You alio leamd that thete a.e an innite numbsof vn.ioro of th6e tors. -I the right, {c ahow}ou fo ofthe bj@rs clGely rc*mbliDg the four basi. folm.

The dee object 3hown that are bded on the sphere r.rily identifiable a3 an apple, bail and . head. Oneof thitportart means by which your eye mak$ a qui.k, accuralidtitcation o{ ther objets is the dri.t, in .d.hlotn thatis ch,ractcristi. ol it. Having eer many pples, you lnowimmeditely wheth.r or not you d l@liryrt ar pple. You.bo tnow flo other eiiud exp.inc ha difierenr q?6 ot.ppl6 have difterent forms. CoinA further, you knowrh.rno t{ ppler of.ny tind e e,actly .li,kei rhe.e e rlighrvadtios in their {ormi that ai;Ttm dificrer . Thee slishrvaridon, in form murr betrn and inrerprered by)ou in y;ur

You t s ad inrdpr?r chara.terltic iEeguhni oIfor5. w ey inlc.preC' nther thn "copy" b@e litdlcopyig can often dGtroy the .hdct rilti. qulity of r fomin pi.tre and.onfu.. rhc oh6end.-I interpret fom ttu.h-fully may smetime involve siplifcador, exgFrtion ormodifretion. Th ba3ic thingyou m8t do is th$mit therF.ific chhcter o{ aforn |o thobsetvr so at h can idenrifyit qqiclly .nd corKtly.

rn e pictuE otr the oppGite page, noti.e at the c.ti dono l@( lile telephon. pol6, tre stump or.ny orher bdillycylindri@l totfu. Thcy loot lile e.ri b..M the chdctr-irti6 of e @ctui fomr verc *n, undeil|oodrd irtrpr.dtrulhfully by the dtilt. The5e thing ir true ot rhe hill , theyhave lorns which inmdiatl) idntify thm as hill ryps foundonly in the wstern part of this @utry. This ceful ac.urateoh.ryation offlllllv fom .haraddisri.s m$r bdome .h.bit. It appliB 1o object of all shps rnd3ires,frm the hugmountains at th. lfi ro t botdeson .hc ri8ht.

If you und612nd the pGible vdery in forq youwill,whtr traling a picrc, design a,hap to b chcterhtic, y.tiDdividual d at the lae time comp wcll in the space inwhich ii is to go. Th. boule on the righr are an ekmpleofwhet w mean. A innitc variety .an b dligned nd they witt.ll l6L lite bottl$. Th differen.e lis i eir nrlrir tou.

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2 '."..."14omousArlisls Course

Voriety informs - lextures qnd surfocesInltirut.fCommrciol, lnc.

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On th. righr r flr idnlicolvi.w5 ol men's h.&, All folrh.o& dr drdwn wilh,imilor r,prcttionron thr rt.o.h hdd 3difilrnl. Th difirncr d tovoriry ii 106, Srudy h hod..lor.ly ond observe or Mr, iockw.ll'3choi. of fo. L db3olurlycorct lor rhecreqrionot och n-dividuolhdd, Ext ndyoursrudytoin.lude rh. obrerydlion olp.o 16wh.rvrtougo ond coniinuholttudr lryingor dllti6s to noticwharfdridl cfiorocte.Lli* mdkqprson n individuol,3etting himaport from oll othr. Remmber,$ere i, n lornulq lor drowirsheod3 or onyihinsek. Threis nly qn brtuontey ond o

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Vqristy in heqdr 1The heds llusted on these wo pagesa.e all tndamenlallythe same orns; the skulls of ea.h head a.e ll l,ou,nc sanc

size ard shape and their eyesa.d nouths are in approximatelye sanc reradve psitions 4 ] 3 99 @1h'lis so becaseea.h elemenr oI each head-hair, ean, eyes,Ge,moth and .hin -is just a lirtle dilterent. Ech hed gets itswn, i.dividul ch..cter th.oughvriety in form. The htledifierences b3cones BtG DIFFERENCES in giving ea.h headirs own disrincdon. In drwin& rhe observation nd idtopre.tation of ese difieren.es is a4jq Fu.ther obs.v3rinvillreveal thal there re certin lypeJ' of people .hat sceft to bechrcterisd. I .ertain walb of life. Yo must learn ros.leclthe tight t$e for your drawing of the noent,lhen obse.veand Fmembe. what mo. subtle va.iarion in rhe lomsol iheeab, hair, eyes,nourh, eic., givcs)or'1ype'peson char.a..e. thal marts him as an i.dividal- Inrhe caprionsrelaiingto ese heads, we point oul ihe sbde difierences a makeeach head have iu individal qaliry. When draing orpiin

in8, thrcultcof "u.h oh.ew,'ion willAiveyour pnrure ir rerer.Oberve your own lace in a mnror. A slight change in themnner you brush your hair or tbe liftingol an eyelidwillmatea lot oI difierence inyour chara.ter. Sin.e a pebon's head isthe nct expre$ive part of his body, constnt stdy of itsfo. vaiations is important. Althgh the heads pi.tured hereare realistic, heads areoftenpairted ore Eiply.Bt ir paint-ing rhem simply,do not neglect rhir individual chancte..

Vqrlety in notureqnd indusFy +rn e same species f nimal, ir e.h rype oI planr lifeor i.grops or .omprble mnufa.tuftd itens, various degreesof

Iorm difierences re found. On theopposite pagr are io such.ommor f.s - the ho6e and the alomobile. There is norsp.e etough.oshow all e vadetieswithin th hoBe fmilybutrecall, iI )ou can, ihe grear numberot difierenriy shped hohesyo havcscen.Then rhint of rhemny breeds hr exisr in thehoNe family alone. Don lhis should giveyou some idea fthe scope of e subject: ITARIETY lN FORM.

In tr'is one ermple of the horse, you musl see that whenyou drav a horseyou do not simply draw a hos, voal MUSIDRAW A PA&TICULAR IjOltJt- a ho$e lhat s cnaracre.-istically co.rect for your pictre. Thesame rule appli$ ro il

vriety in lom isalso presenr in man-nde obje.ts. As acomnercial artbt it is n bsolutemust tharyo becomeactelyrware of lorm eariations amon8 mnufa.rred producrs. Loolaround you t magazines,billboards, car cards,etc. You willnever frnd a ptudu.t drawirg oI a car, a radioor a ref.igc.a o..Bur you wilr frnd producr dnwingsot particuLarc ts,particrlarr^di6, Fartic\tar rcrri9er^ro6. Each romobile, {or example,hd ils ;iiG;iiilyins chracterbrics rhe dope of rhe wind-shietd, the grill, the fender shapes, c. You must rain youreyeto noti.e ihe variety nd idertilyirg featureso{ all such lormsqickly ard rher yo msl enphasize rhcsepoints in a piclure.Doing this giles yr drwing cnviction.


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,....."4Fomous rtislsCourse

Voriety in forms- lexlures ond surfocesInslilure of CommefciolA,ln,

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4 ,....."14FomousArlisls Course

Vcriety in forms- texlures ond surfocesIntituteor Conmercio r, Inc,

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,",.-14omousArtislsCourseVoriety in forms- textures crndsurfocesIndiruleol Codm...iolArr,l.c.

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ruffiffif_flryCommonobie.tsmorg .omD,oobjecrs r everldaywc, varicryin ror i3 end.ls- on rhis pge are rwcn.yjour .hai6- alt or rho difierenr.It n trk that they all have fourlegs, a sear and back burdcspnc thcsc gerdal siila tieirhqc arc obviosform difieFcDc.snr thc chairs. Thcsc .hais, rhcn, rhoutd give yoa tdi{16 01 whrr we ean when vesay not ro draw simply cbai.trnrro DRAW A PARTIcULARCHAIR.

Now, 6in8 the same arrangcmenr oI .epeared .hair rormswewnt to inlroduc you rorhe sc.ond parr of tlis leen: lttyattin ol ,Pxtut. by th. t.tarnon ol lon. pjn i, p8f;the wdllor prop ir upon a rabl. rnd so a(rN . r@mand l@tar ir. Noti.e that, frcn rhis grcalc.disrance, hedonin.nr thinsLhrt trikcs )or rvc i, rhe repearcd lomr ot Lhese 'a3i(Uienihr .hair shapes nd rhc rcxrc .rered by lhis rcperirion.


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6 ,"..."14omou ArlislsCourseVoriety in forms- lertures qnd surfctcesInditul. olComnr.iolArt,Inc,

2. Repeoted FormsMoke Texturesllelorc bcginningrhc arudy of textures,you shoul{l ndes.an.itheir importancc in making su.ceslul pictue._IxturcsoIay kind.ar do vrios ings in a pi..ure. obviosly,rhey hehidentily materials ot hich objcrrare made. They can al5oemphdize rhe mood ot picture by ling animted or sub.dued as .hc pictr,rcrequires. They can dircct intere$ b d6i.cdareas oI your picrurc by beingslbsar in sharp .ort riihnonrex.red, rurouDdilg reas.Th.y can ale serve resamepurpose by suoundiDg nor.texturdarca. Thcy are able ro$ubordirate n rea, ading as camouflage,by sunoundinS thearea with sirrilr t.xlu.es.

We mentiored, abovr. rhat .here were various rindsof textures. Th onc wc wan. to call ro yourarrcnrio nov is thetexture.reared by rhe rcperi.ionor tormt. AU rhe picrures onrhis pageare visualdcmonslrations oI dr statement: R.ptedroms Dralctexlurcr. you tow, for exnrple, thar the gencralshpes of e b(ries o the lelt are similar,ye. rvhcn viewcdtogether, somc disun.e lro yr .yc, .hcy lornr .ovc..all.cx.ture as did dtL chrirs on the prcceding pagc.

we.an .arc a.cas oI tex.re withir a picrure byrepearigIo.ms whicharc simila. in eiiher size, shapc or color. This ntrue becase oI lhc limiradons of the hunan eve. As vomoycd a$-,y rrom rhc pi.turcof rhe chai6 o page 5, your eycsave p tryins ro Its o:l_ )_ y: J: Insted, yor eyettrused on the cDtiregroup of.hairs and eir overaU ppea.rce uhich bccante d textrrc. y\ kcw dra. lhe individalolr"."-n-,

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Voriety in forms- lexturesInrlitut of CommrciolArt, Inc.

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8 '.".,."4FomousArlislsCourse

Voriety in forms- texlures ond surfocesIn3tilut tComm.r.iol^rt, Inc,

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,...."14omousArtisls CourseVoriety in forms- texlures ond suffqcesInsriture lCommer.iol^rt,Inc.

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Voriety in forms- lexlures ond surfqcesInltilute {CohrcidlArt. In..

3. Surfoce lexlures'l herc is oly orc ,cason lor cosidcing rrf.,.c rcxlzrcr apartftom rcxN.cs .rcatcd D) thc fcpctition of lorm- n is iheir rcla-

iv( rizc orq414. As sccn d,rogh the 'nagnirying8h$ abovc,r,rh(c tcxturcs]g oetc(l by repeated brms. For pra.ticalpi.-uc n,aliDs purfoscs, howevcf, Nc ma) a$u,nc lhat e rcperedl{rrs Nhi.h .ret. ntrf.c teauc rrt

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ePante torm*Thc pie.c ol ltri. shwn abvc isa good cxamplc oI thisve think l ir s lo h, norlhrcads,Thqelore, ehen $e spcak

ol {,rltc. lcx,rc wcrcfG to the $tice ppearancc ol schatcrixh isqndpper,Iether, Braincd*ood, met1, tone,.on-..crc, fur,(ork, silk, {ool,gl$, .hira, ek. Surfa.e iegulritiesvbich (rcrle lhcsc tcxtircs are b.st *.n along the edge of $adow $hen tl'cy nr. ill,,rinatcd l)y a raking or nearly tD

srl.. tcxtr' h ol grcrr valueiD disringuishingbclwenothcnviscainil.r lornB.Thc bils at the lefr re all sphericalir nrI but cxnb. casily(listiiguishedfrom oeb of comparrUcsize bl thcn s,'rfr.c rcxturcs.

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13/40

""-4FomousArlisls Course

Voriety in forms- lexlures ond surfqcesInniM ol Comr.iolArt, Inc,

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14/40

l2 "-*4Fomous riislsCourse

Voriety in forms- lexlures qnd surfocesIn5tilule oi Commrcilt, Inc.

{. Two-dimensionol TexluresFla parlcrns like those tourd o Nall pape.,doirg labrics,crtain fabrics nd ru$.a tre used to ete lexnue iD api .ture. \'Ve call then svodinersinl textures. The] cargivcvariety io a picrure and can be used to emphasizeor subrdinatr .lcsircd artas i,, cxactly tl,e sanle ,anner as repeated onntcxtrcs and srla.c t.xurcs. s sho\rn in thc th.ec piciu.csabo ., NvodnncDrionlltcxtu.. is nor somethirg thar .an bcerrminc(l a.d {elt like $tlaceter e it ca be applied to

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15/40

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Voriety in forms- lextures ond surfoceslnslituleot Commrcidlr'it,nc .

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16/40

t4 ,"..."14Fomous rlislsCourse

Voriety informs- lexlures qnd surfocesIntitut. fCommercidl A , Inc.

,||qteriols lhol Ghonge lormSome narral and D,anjadc nuterials clnng. Iorn Nhen$'bjfttd to dillereDrcoDdirioDsaDd conscqcndyproducc diflerent texurl eftects.SoDr( ol thcsc Datrials lrcr,(at$, dondt,{olige, .loth, grs aDd $okc. TIc in8s that ale o)charge lDn a.c wiDd, ltcrt and othcr a6phe.ic changcs.vou ms. rerrcmbcrrhat as dre LbftrE han8 so do d'e r$uling lexturcs. AIieldol whdt on a hot, stilt dy Nould crll for eDtirely difieret texrur.l ftaoc drri thc sanrc ficldshovn on a gray, wi'ldy .la). Noticc n, e pic.rcson thispage .har NIr. von Schn,idthas shoNn ,(ater undo {ourdific.enr .oDdidolr with lour ilifrietlnt tertural cffects. Thc nn.portant thntg out his sclectio ol the erible fonn of Natr

i,s at it liu the situation a\d d.sid too.l of &.h pitxrc_Itloti,e.@sea .ondidons.

Lr the pi.turc containnrg rh snrgkug, rhccloud5 aod smoke rc nr teeptug wilh rhesiarc o1 rhe sea.You Dusl leh to obscryc lhc lornr v.riarions tht occuf

atd the reslting Iexrures. Ncver put stormy wve lorms inapicrurc inFnded to portray r cal san d remc,nber,winddut blor{s wves will alsoshlpc rhc cloud lontions, cstbkc, r sbip saik, Ilagsatrd pcoplcs dothiog ir cor.espond.ing Danner. Yo, and yo aloc, ca traiD youbeli to r.c,alw and rc,al rh6e thnrgs.


17/40

,".,."4Fomous rlislsCourse

Voriety in forms- lextures ond surfocesrn3titulol ComnrciolAt. lnc.

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Ihe over-qll iexturol efie.t of opi.lureLr tis l($or yor rvr lc arncd rl)oui thr(( I(i'(lsot trxrtrrcslrcxtu.c lo.lrl l)l rcpeikri 1rn {rrr(.t.xrurc rnd .ro.(hnensnr',1 t(xrrc \rt t ,resente(lrn, k)\ou scprfaich rn,ln 'u" ,J \uu 1, , \ ,1 , \ s , ' , ' . , ,d .n . t , , . , ' , '" . \ . .s \ , . n BU, ' ito.onsnlcr tbcnr to 'i . tho and iI th.if rrl iri ,n,ro rhc ovtrrll

lhe sclccrlnr ol rh. pfopef ir ' r plrii .ul .rpicrure n in't \ , lrn '. Ir uus.irNt , t lc rood,vu Lirhrhc cntirct)nru,. ro (xl)(\ rnd irr,{ , L'rrr(v i .rerP'.L rl.lons nr ,vnr rn 1r. (insidrf thc r$,, t , i(rurcssl ^{r.Dov(Ore.xp\ \ r l ' ( vrn l(nrcl] slrr(r ol l l lc nc{: thr orhcr cx

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ol rrrnnr. II rnch casc,rr .\ ' (n Scltt , idr x\ \rlc(rcd rr\rrc\ rh rr( [r 'i]t., ihc nu lhc \.inr$ b (\(\ . ind. i a fcJlt , hi\l)n Lrr( rr. nrc.cslnl

In ad(litn r,){i({ting th. prprr rf\ t , 'r1\ , .o . \ . \ th .,1, i , , l"r"rl\ , i '" , ' .r. ,1,,l-. , ' 1. ' ' l ' , ' l '. .u, rl , tr, , l i , . ,rr , thc nrbj(t ol thL l,i(turr. I){lnrk k\turr\ l ikc thost ullrl)yIIr. I)rrtrr in th pi.rrL(onfuinirAri hrnnork on prts |l : , {oul(l rot h rl)lr)trirtc to un in thl)i(trr. ol rhc nxnrpcdilj crtt lc or) rhir p$ nr ihi\ pnr,(h. tr\ isting,spik.nrDnsol t l (. 't[ h,r]r\ ind th. \f irl iB lorJls ol thc.ninal \I,o,l '". r ' , 'r, , . , . , ,J-. " l{ ' r.\ '", l ' | ., .pt , .p 'i , ' ,

_the.on't ,o.irnr,{n \our kxru,6 , , , rt)nr,rc n nrpofu, 'rlhei. pla.tn(rir \ l lLl 1,. .o\nlckrl r\(rrctull\ rs tbcplacetr.nr cl th. ph)si.xl forn, ,)(s rn(l .olors. Conrposc votrr trxttrr(s t, dirccr icntin Lr rd$ired arca, rhrfn,o.iz. o, {oit 'rn \vithrn ,{li ,)ini, '8 tdL', ,cor to 'l)ordinatc rn obj(It o' akr thlt n,i8l,r othchvisldetr.i lr'n,lhe .(ntcr\ ol ir 'tdr{, i l lrt i . rl l \o urrort ft ,neber thxttri .Ll lertu,al rcrt,rni Nill nor *\r r ldan,entalhlroorpicrure \ '(nn dra\ing, .onrposiron rr(onnlucarcnt nrunbt good. rn(i il dr.\ rrc, a(ist srl((rnnr and usc oI texrurcsrrill inckh. rhr pnrc efic.rivenr$

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18/40

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Voriety in forms- lexlures ond surfocesInnnuie lCommr.i6lA.t, lhc-

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Voriety in forms- lexlures ond surf


22/40

20 ,"""""14FomousArlists Course

Voriery in forms- texlures qnd surfocesInttitutot Conrciolir,Inc.

ho use of texlure in .ommer.iol drowings

We are usin6 line d.awin8sin rhis IiNr demons..ariooI rex'tu.c uscd in commer. ial drawirgs because n this mediumvariousteatures ak most .eadilyobseded- Later yo will seehow the safre principles oI tc use of rcx.t apply to at)

Effective texrure in a picture is obtined by .relul plan-nnB oI the texturl ares- nol th.ogh clever mnipulation01 art iools. Narurally a gooddc5igner shouldhave comand01 his toolsand be a good techDiciaD.He mst havc this rcch-nical abiliry so he can build his picrure efiectiveiy andgerao6s his ide rhrough rhe useoI rexrure, ighri dravirg ndpaintbg. But his te.hdqe lhold always be a ncans to anend never an cnd in it6elf.

It is selul lo.emember ar Dosr commer.ial rr is to bereproduced nd that the reproduction will ror ihorv the surfce texture olyour pints. For this reao n dcs not mtterwhether )ou apply pinr thicklyor .hinly.

Whaver yu do, dont ovc.{exiure your prciu.e- keepit simple and rememlreryou should hav e a sound reson lolintrcduciog a texture at ny point. Textules can be used sccesllly otly if they arc employcd to tri.h a nr a well.designedpicrurc. lt will bc hclpful il yodesignyor rex.rcskecping in nind th. prin.iplcsor co'nposition taughtyou iD

Most textures are applied in the frrishin8' stage ol a draw.ing. Be surc, at dris poi,rt, tlutyoa. rcxturcs do not dc$royvalucs al.eadyestablishedn the pi.trc. If yo havcca.efllyplanDed yor composi tion, $died your Iorms anddeierminedthe 'oert re\rure Inf .d'h lorm Jnd rrerot 'he pnrur., \oushokl be able to cay it through to.ompletion with directionand p.ecision- Fumbli8, reworling ad ovefdoing apicrureare generaliy d to po. or irsufiicienr mas.e.yoI rhe sbjccri'r itspreliminaryslagcs.

5ry.rh .tr 'ndrcTnqo r ..r 'rB*lh...P.ol.d

?-.-..7t-/---- -.-z* - z r'r'2--,--,2.22t


23/40

r.".,""14FomousArtills Course

Voriety in forms- texluresIntriiuteof Conme.ciolA, Inc.

ond surfoces 2

Al[\\l|=iilriuiffi f Ef

dii.d obi.dror :. rd yq ilnrrrudy


24/40

22 ,"..."4FomousArlisls Course

Voriety in forms- texlures ond surforesInsriiuteot Comm.rciol ,ii, l.c.

7:----.

"ir: :*r: tr f W fiW fiiqE bei

'pordhy hi.dhs in ot s.


25/40

,",.."4FomousArtistsCourse

Voriety informs - lextures ond surfocegInnitutof CommercidlArr, nc.

2

,I-r:


26/40

24 |."",""14FomousArtisls Course

Voriery informs - texlures qnd surfscesIntitute ofCnmerciolArt, In..

lgxfure in loneWe hve s(n.har sccc$ll rcxrural ealmerr in linc drawingsh based od carctl pl anningd selection of rcxturcs to bctreted. we have alro seen, ir the faslation oI tex.rcs,how a v.ieiyol sfoke ptterns s prodccd. Thc arisrssclccred.hc mosrsuitable stroke pltern fro amongscveralpo$iblcchoicesand ponryed objects fahrulty. Theskiulul nistchooses sFoke patte.n bcn sired ro rbar prroI e picrure

ln rcprcscnting rcxtrcsin tonc the sameprinciplesare fol-lowed. The pictreson drn and the opposne pge shw how6inple ii is to chage {roD line b torc. M r. Athc.tonl pic.ufch2sa rkhvarietyol line rcxtures pl$ sorte toncs.ln iu.. Parkc . spicturc, below, we see that toe plays a mrc impo.tant pdallhough the line elenenr is still slrong. NIr- L{iekenj chckWagon is done entirely in tonc.

":{bid d@$d h cson'


27/40

""""4Fomous rlislsCourse

Voriety in forms- texlures ond surfoceslnrriture oJCnnr.idlArt, In..

2

're


28/40

26 **""14FomousArlisls Course

Voriety informs - lexlures ond surfscesInttitut.ol Codm.rciolArt, Inc.

How much lexlure lo uteTherc should bc cnogh r.atrc cn,ploled in apictu.e to idn.ify rhe lorN and e materialsoI which they afe nade. Ii you. pidure has agre.r numberoI fors a


29/40

,_",.."4FomousArlislsCourse

Voriety in forms- texlures qnd surfoceslnnitul olCmnrcilArt, Inc,

2

7f,

lextures in four mediumg'lh. ldrf pi.ur.\ L.lorvs[o{ )'ou dr. sartrc ourposniorrrc(l.r.d i'r .r.h onc of thc tirr rlsn rtre(lirnswbnb rou havc5..1 ihrogho,'tth. roufsc pcn.il, linc,\'asll an.l pa.lu..A ,""ond,v tl'., I'oushoukl rk. o.c all.importa nr oLs.rvation: lt cacl pi.tLnr thc tcxes a. di.rated Dy drc lorms,h0t l\ rh("tr.ru,)t.'Ihis i5 tr,c oI .ll tbc nill liic objcds iu ca.h ouc or thcscl)nrtrrcs.Look at thc oraDgc, lo. .xamltc. Thc dirdcd ir-tcBtrlafiticsNhich chxmtcrirc dr. {rrla.c textrc ol ihi5 lruir. , , 1 . 1 '1 ,' ,' , ' " In ' , 1,r, , , , , Hn,, '.)nL'

J '. . ,-. 1rcprdcnrnrg drrsc tcxtts xl$ dcpcds ontaur .,,llrt oI, , , , ,r, , , , , , , \ . t .qr \ .n, . . , , . , ,u .r{,, , .", . , , , rt , : ; ; i , , i-

Pn.il n{-qr;s roq "io

ilWoih-w*i.rsid**

a(.u.rrc and ca.ctrl obrcN,rio. ro produt a good pictLc.llcforc tou l)cgin ro fcnder in) fla.c texn.s, sop and

arallzc drrr. Dc.id. bclo|ehr nd Nh.er a hrd edge or a sohoe r{ill b.s dcs.rib. a .l.sirc


30/40

2A ,"..."4Fomous rlistsCourse

Voriely in forms- lextures ond surfocesInniruteol Comh.rciol rt, Inr.

i

iIrJ'l

:

|tl

Forms dnd textures identify the lorole, \ l t l l ,sb rvd\ .n) .onlainsc$(nti . , lh th. \rmc cl(in.n

hos.s. elct ,hrr \irr ' i . ( l polcs. rfr{ l ishh,rl rhlfi. rop o l(ro\( tlat r\cry .it_v s diflcrcnr. In ir(roo i {r((r .oruu rithin r rinAk( r} ir(l i l lefett;i l I 'rs I(hrlr(kr {n irs oan d[t nnr{ lx lookcd kr rn(l lourxll)t thc,,1,. 'r\ .rr

' r. ir. . \ l l 'Ir ',

,1.11, ',rr, . ,L.lih,", \{'rri r\ -'ob\i(us t lt thtv afcovcrl,t{d.rrl duc to ldfrcll t 'r, r, ,, | l ar t r ' , \ ," ' r.r ,e"," ',r r, .^ ', i J r l ' ,1 fl ,r, 'r,*.r ' , ' . ' lpnrrrr\ pfodu.{ x prrri .rlrr .n. ol x pafticLr phc.

()n thn prAc trrc 1onrc(r v1n.\ .c oI Timc\ Sqr..rt irr

\cs \oft Citv, thc orhd,,1 i inrll rorrrair nr. ( r ' l hr\ nrc iL( tlifiocnL rlrlu,glt rl(\. .nhiI rnaDl olrxc srnt clc

"k ' , ' . l , r l', , t 'Inr. ' , . 'i 'r ' .rr 'rgrh, lr, ur ' ' r' l ' ' i rrr " "\orr ol tbe .hir. .k,risrir(l i l lcr(n{.sio bc Ioud i Lr{hncnc

Thcsc drrrn(bntn (lil l(rcr((srr( tbc rhings b l)c ol, {vc(land pt into lour l lniu.L.lhis docsnot rcrn to(ol,y rh.phobgrrph cxacrly. S l . and cmPhaste lhc lo.n,r thrt rrctlpi.,l r rhc bjc.t)ou ttrc d.a$ing Dd omit or sDo,(linrlel ,r"h ' \ , r tr, not

(\t , i , . 'l l lu,h ol \o,, ' nk.r$ '. 'r ' i ' rn t(lcp..(15on )our sbih\ ro .lo tbis


31/40


32/40

30 '""'-14omousArlists Course

Voriely informs- lextures nnd surfqcesIntitureof CommerciolArl, nc-

ercPl. dcyoi (honry No 5). rw

famous artists course - book 3 lesson 14 - variety in forms - textures and surfaces (1950)

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