Page 2 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Unit -1, Introduction To Drawing, Drawing, just like writing or speech, is a form of communication, and in the same way as these, other forms of communication drawing can be multi-faceted, and very diverse as a means of, expression of our observations, thoughts and feelings. Across the broad field of art and design,, artists and designers will use drawing as a specific tool for visual communication, and at the, same time use a wide spectrum of drawing techniques to express, develop, and present their, ideas and work to the viewer for whatever reason., Usually, our first encounter with drawing is to try to copy something from observation; this, could take the form of a portrait, still life, or a landscape. When we’re children we draw our, observations from memory, and when we become more life experienced, we tend to draw direct, from observation. This is normally when we encounter our first problems with the art of, drawing, as we have fixed in our minds that to be successful with this skill our rendition of, what we see must be nothing less than perfect. There are many reasons for us to want to draw., REASONS FOR DRAWING:, 1. First thoughts: One of the many approaches to drawing is to use it as a tool to record our first, thoughts. These usually take the form of sketches and drawings that have immediacy to them., They are usually spontaneous and inspirational as one is drawing one’s thinking process as it, happens. This process can initiate new ideas. This procedure is usually done in sketch - books, or on scrap pieces of paper, and they are usually presented as sheets of ideas., 2/ Research and Information gathering: Artist and designers use drawing research as a way of, gathering information on a given task, or subject, that they have either been com - missioned, to do or one they have decided to perform for personal aesthetic reasons. Research is usually, done in sketchbooks, and in specific places that hold the necessary information. These places, could be museums, libraries, galleries, in the studio, or out in the field. Information gathering, exemplifies the enquiring mind that sustains an interest in the visual world., 3/ Diagrammatic Drawings These types of drawings are usually instructional, for example a, map e.g. when someone needs directions we will draw them a very crude map that gives them, an idea of where to go. Diagrammatic drawings have also been used in different cultures to, enable us to read and understand religious or philosophical meanings, and aspects of that, Mrs Meghashree- CCIS, , Srinivas University

Page 3 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , culture. Simple examples of diagrammatic drawings come with self-assemble items such as, furniture, models, and other forms of equipment., 4/ Theoretical Drawings Theoretical drawings are important in the history of art in that they, give us a means of understanding proportion, and space through the use of analytical and, theoretical devices. These drawings are usually referred to as projection systems such as, perspective, planimetric, isometric, trimetric, and proportion and measurement drawing, systems., 5/ Copies Copying consists of absorbing the manner in which other artists have worked using, the medium of drawing. It breaks down and assists our understanding of the drawing process., It is used to aid us in our learning, and to understand more fully the language of drawing., 6/ Drawing from Nature All artists draw from nature whether it be a direct transcription or a, drawing that is from memory. Drawings from nature include drawings of still life, drawings of, the human form, or drawings from the environment or landscape. What we must realise is that, when drawing from nature we must have a clear idea what we want to achieve from this, drawing, how we want to approach it, and the type of language or technique we are going to, use to make the drawing., 7/ Presentation Drawings These drawings are usually for a patron or are a commissioned piece, of work. They are also referred to as artist’s impressions. Their aim is to give the patron an idea, of what the finished work will look like. Both the artist and the patron can reach an agreement, before the main piece of work is started. These serve the purpose of preventing mistakes being, made, sometimes at great expense to the artist or patron., 8/ Calligraphic Drawings In calligraphic drawings, the artist has a repertoire of marks that act, as signs or symbols for cultural meanings. As students or beginners of drawing we should, develop an inventory of marks for the different mediums that enable us to express our ideas,, observations, and feelings. We should experiment with making marks, lines, shapes, tones,, textures, and so on., 9/Drawing in its own right Drawings in their own right are drawings that are made deliberately, or solely for their own aesthetic reasons. However, illustrations can be put in this category, as, they can act independently or support text. When connected with text, illustrations bring a, visual quality to the experience that stands on its own merits., , Mrs Meghashree- CCIS, , Srinivas University

Page 4 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , History of Drawing:, Drawing is one of the earliest forms of visual representation in the history of art. We can trace, it back to prehistoric times, to the primitive man, who practiced drawing as a tool of expression., The earliest European cave paintings date to Aurignacian, some 32,000 years ago. Prehistoric, drawings are the origin for the artistic representation of life at that time and highly, expressionistic and dynamic in terms of quality. Approaches to drawing as an effective tool to, illustrate human life varies from period to period. From simple illustration to highly complex, illustrations of narrative, types of drawings for various applications (religious, educative,, social, political and scientific) have developed since the prehistoric times., Drawing Materials:, 1. Pencil:, , A pencil is a rod of graphite encased in a soft wood such as cedar, about six or seven inches, long and exposed at one end. Crude forms of graphite pencils were first used as early as the, 17th century. Before this, rods of lead or silver (known as silver point) were used as implements, for making drawings. The modern form of lead or graphite pencil with its wooden encasement, first came into use about the beginning of the 19th century., Graphite, a form of carbon, also known as mineral black or plumbago, is the major constituent, of the modern pencil. The softness or hardness of a pencil varies depending on the amount of, clay mixed with the carbon. The softest varieties of pencil contain little or no clay. Artists and, designers will use a range of pencils, varying their choice according to the effect they are trying, to achieve., Materials and examples of marks, HARD PENCIL, , Mrs Meghashree- CCIS, , Srinivas University

Page 5 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , HARD PENCIL Hard pencil marks have very little variation in the range of mark making. They, only usually vary through a linear progression. Tone is usually made from a build-up of, crosshatch effects. Hard pencils are denoted by the letter H. As with soft pencils, they come in, a range, comprising HB, H, 2H, 3H, 4H, 5H, 6H, 7H, 8H and 9H (the hardest). These pencils, are mainly for use by designers, architects and people who produce precise technical, diagrammatic drawings for which a fine, accurate line is essential, such as perspective or other, projection drawings. Although the marks made with hard pencil show very little variation it, can be used in an expressive manner. As with soft pencil, tone can be built using a crosshatching system, although the result is much finer and more formal, the cross-hatching, emerging out of a series of linear progressions., SYSTEMS FOR HARD PENCILS Hard pencils are mostly appropriate for drawings requiring, accuracy. As we have pointed out previously, such drawings are usually done by engineers,, industrial designers, graphic designers and architects. The final drawings they produce have to, be to scale and precise so that other people, such as craftsmen, can follow the instructions to, construct or make the designed object. These drawings come in a number of different types of, perspective, or parallel projection systems, ranging from flat orthographic plan or elevation, drawings to 3D perspective illustrations., HARD PENCIL MARKS, , Mrs Meghashree- CCIS, , Srinivas University

Page 6 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , SOFT PENCIL, , The soft pencil has more versatility for creating tone and textures than the hard pencil. Soft, pencils are denoted by the letter B. The HB pencil is a mixture of hard and soft and is the pivotal, Mrs Meghashree- CCIS, , Srinivas University

Page 7 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , pencil between the two extremes. The range of soft pencils available consists of HB, B, 2B,, 3B, 4B, 5B, 6B, 7B, 8B and 9B (the softest). These pencils are designed for the fine artist to, express particular ideas, for example through the building of tone, the creation of texture, crosshatching or even just simple line. Pencils at the softest end of the range can be used to produce, blocks of tone. A graphite stick is generally more useful for this type of work and for producing, larger areas of tone For a small drawing - up to A3 size - a soft pencil is more appropriate. The, only soft pencil suitable for refined work requiring great precision - essentially the preserve of, the hard pencil - is the fine clutch pencil., , Mrs Meghashree- CCIS, , Srinivas University

Page 8 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , OTHER TYPES OF PENCIL, Other types of pencil are available to us as well as those described above, and these offers even, more opportunities for experimentation and discovery. You will find all of the types, recommended below in any good art supply shop. Peel-back pencil - graphite encased, or, coiled, in twists of paper which are peeled back to reveal the graphite. Propelling pencil - comes, in a variety of mechanisms which reveal the point of the graphite. Clutch pencil - provides a, very soft point (fine or thick) for sketching. Standard thick black pencil, known for many years, as Black Beauty. Triangular carpenter’s pencil - used by joiners and builders to mark, measurements, make notes and sketch rough ideas. Graphite pencil or stick. The pencil type is, solid graphite of about the same thickness as an ordinary pencil. The thin film coating on the, outside edge peels back to reveal the graphite. The stick is a much thicker piece of graphite, which, like a pastel, has a simple paper covering that can be removed as necessary. It is a very, versatile fine art drawing implement. Aqua sketching pencil - these work like a pencil but can, be used like watercolour washes when exposed to water., , Mrs Meghashree- CCIS, , Srinivas University

Page 9 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , 2. GRAPHITE, , Graphite is the same medium that pencils are made of. The difference being that pure graphite, is not encased in wood. They are in fact solid lengths of graphite that come in different, thicknesses and grades of hard and soft. As you might gather from the illustra - tion this type, of material is not meant for detailed accurate drawings. Instead it is more suited for robust, drawings of an expressive nature, and it works well together with a plastic eraser. Graphite is, the same medium that pencils are made of. The difference being that pure graphite is not, encased in wood. They are in fact solid lengths of graphite that come in different thicknesses, and grades of hard and soft. As you might gather from the illustra - tion this type of material is, not meant for detailed accurate drawings. Instead, it is more suited for robust drawings of an, expressive nature, and it works well together with a plastic eraser. The type of drawings we, would produce with this type of medium would be quick, heavy, dramatic drawings using, strong, dark lines, large areas of dark tones, or interesting textural marks. Unlike the hard, pencil, the soft pencil and graphite are designed to make a much heavier mark and to create a, tonal range - from a very dense black through to white. The soft pencil and graphite enable you, to do this quickly and efficiently. The pencil will also allow you to describe shape and form,, but you must keep the lead sharpened., 3. Blending, , stump/, , Tortillions:, , A blending stump is a cylindrical drawing tool, tapered at the ends, and usually made of rolled, Mrs Meghashree- CCIS, , Srinivas University

Page 10 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , paper. Blending stumps are essential for the artist wanting to smudge or move material around, on the surface. A blending stump allows the artist to create gradations in value without, introducing the oils of the finger (through finger smudging) which can make a drawing look, dirty or uncontrolled. Blending stumps also allow the artist to create gradations and smooth, applications of value in areas of detail that may be hard to get to otherwise., 4. White chalk, This is available as a hard stick for detail and fine marks, or as a soft pastel that can be blended, more easily., 5. PAPERS and supports, Certain papers work best with certain media so it pays to match the drawing implement to the, support. There are three distinct paper surfaces., Rough is, as the name suggests, a paper with a pitted, highly textured surface. It is best suited, to bolder, expressive work using charcoal, chalks, pastel pencils, and soft graphite., Papers with a very smooth surface are known as “hot pressed” due to the fact that when being, made the drying sheet of pulp is passed through hot steel rollers. These papers are best suited, to pen and ink work, wash drawings, and fine pencil work and are less satisfactory when used, with softly pigmented drawing tools like charcoal and chalk. This is because the pigment dust, needs a textured surface to cling to., Papers with a medium textured surface are known as “cold pressed” or “NOT” (meaning not, hot pressed). Papers in this group work well with most drawing materials and are perhaps the, most widely used types of paper., High-quality paper, usually labeled “acid-free,” is neutralized to counteract acidity and will not, become brown or brittle. Cartridge (standard drawing) paper is the type of paper most often, used for drawing. It can be white, cream, or colored and is available in various weights, sizes,, and qualities. Watercolor paper is available in various weights and is good for all kinds of, drawing., Pastel paper comes in a range of tints and has a “tooth” or grain, which is designed to capture, and hold the tiny particles of color. One side of the paper is usually textured, which is the side, most people draw on, but you can use the other side if you prefer. Pastel paper comes in two, weights; thicker paper can take heavier rubbing and reworking than lighter paper., Paper can be purchased as loose, single sheets or in sketchbooks and pads. Single sheets enable, you to try out several different papers and can be cut or torn to size. When drawing buildings, Mrs Meghashree- CCIS, , Srinivas University

Page 11 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , on location, however, you will find using a sketchbook invaluable. They are made with paper, of various surfaces, colors, and weights, and come in many sizes and bindings in both portrait, and landscape formats. Pocket-sized books can be carried anywhere, but may be restrictive, when you’re tackling larger subjects. Big sketchbooks are tiring to hold, but offer adaptable, space, with the option of making several studies on one page., 6. ERASERS:, Different erasers are made for different mediums of drawing. The most common erasers we use, in this course are the gum eraser and the kneaded eraser, among the following:, 1. Rubber Erasers - A rubber eraser is the most common type of eraser out there. Rubber, erasers will not tear the paper unless they are used over-aggressively., 2. Gum Erasers - Gum erasers are sometimes called art gum erasers. These erasers are also, made of rubber, but they are softer than the rubber erasers. Gum erasers are very soft, and tend to crumble as they erase. If the integrity of the paper is a concern, then a gum, eraser may be your best bet because they will not tear the paper even with aggressive, rubbing. Gum erasers are best for erasing graphite on paper., 3. Kneaded Erasers - Kneaded erasers are very soft, pliable erasers that can be formed and, sculpted. This eraser lifts material from the surface, instead of using friction to remove, it. It can be pulled and fashioned into different forms to create specific marks. This, eraser gets dirty over time but can be cleaned by pulling and “kneading” it., 4. Vinyl Erasers - Vinyl erasers are made of soft vinyl and are sometimes called plastic, erasers. These erasers are the toughest ones. If not used properly, they can easily tear, paper. Vinyl erasers can erase almost anything, including ink. Vinyl erasers are usually, white and come in a variety of shapes., The eraser is not for only removing drawing mistakes. We may prefer to think of it as an, important drawing tool., 7. Sharpener, , Mrs Meghashree- CCIS, , Srinivas University

Page 12 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Pencils need to be sharpened with a quality pencil sharpener. Pencil sharpeners generally fall, into two categories – Manual and electric., Electric Pencil Sharpeners, Electric pencil sharpeners can vary in price and the old saying, “you get what you pay for” is, true for what you get here.A quality electric pencil sharpener will sharpen your pencil without, eating it all up.Electric pencil sharpeners are nice to have for a quick sharpen of the pencil, but, should not be used with colored pencils. The waxy binder found in colored pencils can build, up within the blades of the sharpener, ruining the device., Manual Pencil Sharpeners, While an electric pencil sharpener has its appeal, a manual pencil sharpener will do for most of, us.Like electric pencil sharpeners, the manual varieties come in different forms. It’s a cheap, and easy solution that is portable and easily replaced. if you’re sharpening colored pencils, then, a manual pencil sharpener is what you should be using., 8. Colored Pencils, Colored pencils are everywhere. But this doesn’t mean that every colored pencil brand out there, will get the best results. Quality matters and so does the type of colored pencil that you choose., Prismacolor Premier, Prismacolor wax-based Premier pencils are soft and buttery, allowing the artist to layer colors, to build up a solid application that often compares to a painting. Some people complain that, , Mrs Meghashree- CCIS, , Srinivas University

Page 13 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , they break easily, and they do. But this is due partly to the soft core of the pencil which is also, why they are so easy to use and build up on a surface., Faber-Castell Polychromos, Faber-Castell’s Polychromos pencils are oil-based and behave slightly differently from waxbased pencils. These pencils require several layers to build up depth in color, but the results are, fantastic. They’re expensive, but well worth the investment if colored pencils are your medium, of choice., Caran D’ache Luminance, Luminance pencils are wax-based, premium pencils. They layer nicely and are a little harder, than Prismacolor Premier, meaning they break less often. These pencils are, in my opinion, the, brightest colored pencils. So, if you plan on working on darker surfaces, these pencils may be, your best bet. They are expensive, so consider it an investment if you decide to go this route., 9. Drawing Pens / Ink, When we draw with ink, we’re forced to master the use of line. Line is used to develop the, illusion of form, texture, and light. Technical drawing pens are affordable, easy to find, and, portable – making them great for every budding artist to have., When you’re ready to take your ink drawings to another level, you may consider working with, a dip or nib pen. This traditional approach to pen and ink drawing requires bottled ink. This, approach does require a little more skill and is obviously less portable, but the resulting, drawings have more character and are more interesting., Felt tip pens are another option. Felt tip pens allow the artist to create a variety of marks. The, tip of the pen allows the artist to create a broad range of line quality., 10., , Fixative, , Fixative is a resin that has been dissolved in a colorless spirit solvent. It prevents drawings, made with pencil, charcoal, or other soft-pigment materials from being smudged. When, sprayed on to a drawing, the spirit solvent evaporates and a thin coating of resin is left behind,, , Mrs Meghashree- CCIS, , Srinivas University

Page 14 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , which binds the pigment dust to the support. Once fixed, even an eraser cannot alter a drawing., It is possible, however, to work on top of a fixed drawing and it is common practice to fix a, drawing periodically while it is being made. Fixative is best applied using a CFC-free aerosol,, following the manufacturer’s instructions. Bottles with a hand-operated spray and a mouthspray diffuser are also available., 11. Brushes and dip pens, The traditional tool for applying ink is a brush. For applying washes of ink or watercolor, goodquality sable brushes are best. They hold a large volume of liquid and, if looked after, keep, their points well., Dip pens are pen-holders with interchangeable, flexible metal nibs. Certain nibs only fit certain, pen barrels, so try before you buy. You may sometimes find that a new nib is reluctant to hold, ink, but rubbing a little saliva on to the nib can solve this. Pointed nibs are good for drawing, the figure, although square, chiseled, and rounded nibs can all produce interesting results., Alternatives to the steel nib are the traditional feather quill, bamboo pen, and reed pen. Quill, pens made from goose feathers are a delight to use and give a wonderfully sympathetic and, expressive line (though they will need to be periodically recut). Pens cut from a length of, bamboo will vary in size and thickness; they are durable and ideal for textural work. Reed pens, are similar but the cut nib is brittle and tends to break; however, they are easily recut using a, sharp craft knife., , The Different Types of Paint :, Holding a paintbrush and looking at a bunch of paint to dip into can be fun. It’s even more fun, when you know what you’re doing. There are three main types of paints: Watercolour, Acrylics, and Oils., Watercolours, , Mrs Meghashree- CCIS, , Srinivas University

Page 15 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Watercolours are cheap so easy to explore. They are thin transparent paints usually painted on, paper. The paint is somewhat difficult to use because the paint changes form as it dries., , Acrylics are good for beginners. They are easy to work with because they're thicker than, watercolour paints. Because they are thick, they are easy to blend with other colours and easy, to control when painting them on a canvas. Acrylics dry quickly and turn into plastic, so if you, make a mistake it is easy to wait a few minutes for it to dry and then paint right overtop of the, mistake. But be careful and keep the paint wet or it could be tough to use and clean up., , Mrs Meghashree- CCIS, , Srinivas University

Page 16 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Oils are the thickest paints and easiest to control. They take days to dry so you can work with, the paint for hours to get the images you want. Once applied to a canvas, you can work in other, colours easily, change the form and textures, all over long periods of time. If you make a, mistake, you can scrape of an entire layer of paint without damaging the layers underneath. The, disadvantage of oils is that they are more expensive and more materials are needed to work, with them. They are also messy and you cannot use water to clean them up… you need some, sort of turpentine, , Mrs Meghashree- CCIS, , Srinivas University

Page 17 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , THE BASICS OF DRAWING, PENCIL TECHNIQUES, Some artists grip their pencils differently than how we were taught to hold a pencil for writing, in elementary school. It’s not a required method by any means. You can use a pencil however, the heck you want to. However, changing the grip on your pencil may allow you to produce a, variety of effects and give you better control of your finished product., 5 Grips for Holding a Pencil for Drawing, , By holding the pencil in different ways, we can instantly create variety in our, drawings. Beyond this however, expanding the possible of how the pencil is held will lead to, new ways of making marks, expanding our drawing possibilities., Pencil Grip #1 – Traditional, , The traditional grip is exactly what the title suggests. This is the way that most of us have, learned how to grip a pencil from the time we first started learning how to write. For many, Mrs Meghashree- CCIS, , Srinivas University

Page 18 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , people, this is the only grip that is used for drawing. It’s just natural to grab a pencil in the way, that we are most familiar. But using this grip only limits what we can do with our drawings., The tip of the pencil is what makes contact with the surface. There is quite a lot of control with, this grip, which makes it great for details., Pencil Grip # 2 – The Drumstick Grip, , The pencil is held loosely between the index finger and the thumb, while the other fingers act, to stabilize the pencil. Holding the pencil in this manner allows for the marks to originate from, side of the exposed graphite (or charcoal, or colored pencil), instead of the just the tip. This, grip forces you to draw with your shoulder instead of just your wrist. This is essential to, “loosening up” with your drawing, which will actually lead to better drawing. This grip is, perfect for loose marks and laying out drawing for this very reason. For drawing large, this, grip is – by far, one of the best. You can also create the greatest variety of marks using this, grip as well., Grip #3 – The Paint Brush Grip, , With the “paint brush” grip, the pencil is held in a similar manner to holding a paint brush. The, pencil is held upright and the back edge rests on the crease between your index finger and the, base of your thumb. This grip is perfect for creating light and delicate marks. It’s also great, Mrs Meghashree- CCIS, , Srinivas University

Page 19 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , for when you are making visual comparisons on the surface and laying out the composition., Generally, the tip of the pencil is what makes contact on the drawing surface., Grip #4 – Tip Heavy Overhand Grip, , This grip is used for forceful applications of the material onto the surface. The midsection of, the pencil is held between the middle finger and the thumb while pressure is exerted onto the, tip of the pencil. The pencil lays almost parallel to the drawing surface, forcing the side of the, tip of the pencil to make contact. The result is a strong mark that has potential for width, variance. This grip is great for filling in large areas of the medium quickly. This grip also, forces the use of the shoulder in the drawing process., Grip #5 – The Inverted Grip, , For this grip, the pencil is held by resting it upon the forefinger and stabilizing it with the thumb, and lower fingers. The pencil should actually point back towards the artist. Marks are made, with the tip and the backside of the tip of the pencil. This grip allows the artist to clearly see, the marks as they are made since the hand and the fingers are out of the way., DRAWING TWO-DIMENSIONAL SHAPES, , Mrs Meghashree- CCIS, , Srinivas University

Page 20 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Basic Two-Dimensional Shapes, At the two-dimensional level-the level of silhouettes-there are three basic shapes: the square,, the circle, and the triangle. Simplified silhouettes of objects are created by combining variations, of these three basic shapes., , All silhouettes can be constructed by combining parts of the three basic shapes: the, square, circle, , and, , equilateral triangle. Variations of these, , basic shapes include ovals, rectangles, and triangles with sides of different lengths., , 2, , Mrs Meghashree- CCIS, , Srinivas University

Page 21 :
1st Sem B.Sc. Animation, DFM & VFX, , Even complex, , shapes like, , these, , Foundation Art I, , are, , made by combining variations of the, , triangle,, , square, and circle., DRAWING GUIDELINES & PROPORTIONS, Guidelines can be useful to help you get the proportions right on a drawing subject. It could, also help you make less mistakes (so less erasing) and allows you to focus on drawing one part, of the subject at a time., Guidelines could mean simply drawing a box to frame your subject or drawing shapes to get a, better feel for the object. It could even mean using the grid method when you are trying to draw, from a reference photo., , Guidelines, When you begin a drawing, simple guidelines of some sort are helpful. These lines are usually, very light and, where possible, are erased before the drawing is finished. If you are drawing an, object that is somewhat circular in form, draw a light circle first and place the object within It., This is helpful in establishing the size of the object and its placement on the page If the object, has parallel sides, draw parallel guidelines and then place the object within them. If the object, is symmetrical (meaning that one half is the mirror image of the other half), start with the center, line as a guide. Variations in the outer contours of symmetrical objects can be accurately drawn, using guidelines that are perpendicular to the center line., Symmetrical objects can best be drawn by beginning with a center line. Loose, light lines are, then placed at appropriate equal distances from the center line. Lines perpendicular to the, center line limit the extent of these lines and accurately locate features on each, side of the object. Once the object is established, erase your guidelines and refine the drawing., , Mrs Meghashree- CCIS, , Srinivas University

Page 22 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , This simplified front view of a face starts with an egg shape, which is divided in half vertically, and horizontally. To locate the eyes, divide the horizontal center fine of the oval into five equal, parts. The eyes fit in sections 2 and 4. To locate the length of the nose and the opening of the, mouth, divide the lower half of the face into five parts. The bottom of the nose is usually located, on the line between sections 2 and 3 of this division, the opening of the mouth on the line, between sections 3 and 4. A nose is as wide as an eye; the width of the mouth is usually equal, to the distance between the irises., , The Grid Method, The grid method is an inexpensive, low-tech way to reproduce and/or enlarge an image, that you want to paint or draw. The grid method can be a fairly time-intensive process,, depending on how large and detailed your painting will be. While the process is not as, quick as using a projector or transfer paper, it does have the added benefit of helping to, improve your drawing and observational skills., To use the grid method, you need to have a ruler, a paper copy of your reference image,, and a pencil to draw lines on the image. You will also need a work surface upon which, you will be transferring the photo, such as paper, canvas, wood panel, etc., Mrs Meghashree- CCIS, , Srinivas University

Page 23 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Be sure to draw the grid very lightly, so that you can easily erase it when you are finished., The important thing to remember when drawing the grids is that they must have a 1:1 ratio., This is very important - otherwise your drawing will be distorted! Basically, a 1:1 ratio, means that you will have the exact same number of lines on your canvas as y ou will on, your reference photo, and that in both cases, the lines must be equally spaced apart - perfect, squares., , This reference photo is 5" x 7". As luck would have it, you want to make a 5" x 7" painting, from this photo. So drawing the grid will be pretty straightforward. But if you want to, make a large painting, you could also make a painting that is 10" x 14" or 15" x 21" or 20", x 28". Why those sizes and not other sizes? Because those sizes are the same ratio as the, 5" x 7" reference photo. In other words:, , The size of your artwork must always be equally proportionate to the size of the reference, photo., So, back to grid-making. Here is what you want your grid to look like:, , Mrs Meghashree- CCIS, , Srinivas University

Page 24 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , To draw the grid:, Each square is 1 square inch. To draw this grid, put your ruler at the top of the paper, and, make a small mark at every inch. Place the ruler at the bottom of the paper and do the same, thing. Then use the ruler to make a straight line connecting each dot at the bottom with its, partner at the top., Now place the ruler on the left side of your paper, and make a small mark at every inch., Then place the ruler on the right side of the paper, and do the same thing. Then, using your, ruler, make a straight line connecting the dots on the left with their partners on the ri ght., , This painting will be the exact size as the reference photo, the squares on this canvas are, also 1 square inch. If this painting was going to be 10" x 14", then the squares would need, to be 2 square inches, because:, , Now, back to the 5" x 7" grid above., I find that it's sometimes easier to keep track of where I am amongst all those little squares, by marking them numerically and alphabetically along the edges of the paper and canvas., This way if I get lost, especially within a much larger painting with many more squares, I, can easily locate where I want to be. I write the numbers and letters really small and lightly,, so that they can be easily erased. It looks something like this:, , Mrs Meghashree- CCIS, , Srinivas University

Page 25 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , And this is how it looks on the paper or canvas:, , So now your task is to transfer what you see in the reference photo, block by block, onto, your canvas or paper. When I use the grid method, I always start at the top left corner, and, work my way across and down. Since Square A1 is blank in the reference photo, we'll, move on to A2. Draw in A2 exactly as you see it:, , The grid basically divides the original image into smaller blocks so that you can more, easily see what belongs where. You can see that in the photo, the left side of the little bowl, intersects the corner at the bottom left of Square A2. So, you draw the line from there to, just below the middle of the line between A2 and A3., That first block was easy! Now do the next block:, Mrs Meghashree- CCIS, , Srinivas University

Page 26 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , So you see that as you are transferring the image, you are only paying attention to one, block at a time. Don't worry about the other blocks - just focus on that one block. Try as, much as you can to copy exactly what you see in that little square in the photo to the, corresponding square on your paper or canvas. Focus on getting the placement of each line, just right! Here we go:, , And then the next square:, , Mrs Meghashree- CCIS, , Srinivas University

Page 27 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Basically, you continue on in this manner, until all the squares are done and the image is, completely transferred. By focusing on one square at a time, you end up drawing what you, actually see, and not what you think you see or even what you think you ought to see. Once, finished, you now have a pretty accurate rendition of your reference photo.When you are, done transferring the image, gently erase the grid lines., DRAWING THREE-DIMENSIONAL SHAPES, Basic Three-Dimensional Forms, At the three-dimensional level there are five basic forms: the sphere, the cone, the cylinder, the, torus, and the cube. All three-dimensional objects can be constructed from the parts of these, five forms. Things with flat surfaces and abrupt changes in surface plane, like the corners of a, house or the hexagonal head of a bolt, relate to cubes. Curved planes, like the rounded arms of, a sofa or the ripples of a flag, relate to cones or cylinders. Bumps, dents, and hills relate to, spheres. A barbecue is composed of spheres and cylinders; a mailbox is a half-cylinder and a, cube. The rounded circular rim of a cup relates to the torus, which is also the basic form of a, coiled snake or chain links., In studying the basic forms, you must also consider how they appear in the negative. For, example, a crater is a negative sphere; a rut or a groove is a negative cylinder; an empty, rectangular swimming pool is part of a negative cube., The, , sphere, , The sphere is the easiest of the forms to draw because no matter what your angle of view, it is, always drawn as a circle. Nearly pure examples of spherical forms are oranges, the moon,, soccer balls, and bubbles. The sphere drawn in line is simply a circle., , The, , Cone, , The cone is the next easiest to draw. It is simply a V with a circle between its ends. When seen, at an angle, the circle is an ellipse. A line drawn from the center of the circular base to the point, of the V is the cone's midline. If the cone's base is perpendicular to the midline, the cone's sides, Mrs Meghashree- CCIS, , Srinivas University

Page 28 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , are drawn from the narrow ends of the ellipse. If not, the base of the cone will be seen as though, cut at an angle. Nearly pure examples of cone forms are pencil points, Christmas trees, ships', masts, and witches' hats., , A cone is drawn as a triangle with an ellipse on one end. A line drawn from the middle of the, ellipse to the point of the cone is called the midline. If a line drawn through the widest part of, the ellipse is not perpendicular to the midline, the cone will not stand up straight., , The, , Cylinder, , The cylinder is drawn with parallel lines for the sides and circles between the parallel lines. (As, with the cone, the circles become ellipses when seen at an angle.) If the top and bottom of the, cylinder are perpendicular to its sides, the parallel lines are drawn from the narrow ends of the, ellipses. A line from the center of one ellipse to the center of the other is the cylinder's midline., A line drawn through the widest part of the ellipse will be perpendicular to the midline of the, cylinder. It is important to remember that although the top and bottom surfaces of a cylinder, are parallel, they are not drawn as identical ellipses. The closer one of these surfaces IS to your, eye level (also known as the horizon line), the narrower the ellipse will appear; the farther, from eye level, the rounder the ellipse will appear. A foreshortened cylinder-one that is drawn, narrower at one end to give the illusion of projection or extension into space-will appear to, have sides that are not parallel, because they are drawn in perspective. In perspective, parallel, lines appear to converge as they recede into space. Nearly pure examples of cylindrical forms, are cans, broom handles, and curtain rods., , Mrs Meghashree- CCIS, , Srinivas University

Page 29 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , A cylinder is drawn as a pair of parallel lines with an ellipse at each end between the parallel, lines. The ellipse nearer to your eye level will appear narrower than the one farther away from, your eye level., , In this illustration cylinder #1, at left, is drawn correctly, while the other three are wrong. In, #2, the top and bottom ellipses are the same, but this cannot be the case because they are seen, at different levels. Cylinder #3 is wrong because even though it sits on a flat surface, the bottom, should not be drawn flat because the bottom of the form itself is curved. In cylinder #4, the top, ellipse should be narrower because it is closer to our eye level than the bottom ellipse., The, , Torus, , The torus is a doughnut shape. Seen from above, it is just two circles, one within the other., From a three-quarter view, the middle of the external edge is the middle portion or an ellipse;, the ends are portions of two small circles. The inside of theorus (the hole in the doughnut) is, depicted by two arcs that form an ovoid (oval-like) shape with pointed ends. Nearly pure, examples of a torus are a bagel, a coiled garden hose or snake, and a chain 0link., , Mrs Meghashree- CCIS, , Srinivas University

Page 30 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , A torus is drawn either as two ellipses, one within the other, or as an ellipse with two opposing, arcs forming a pointed ellipse within. Seen (rom the side, a torus con be two parallel fines with, a half- Circle on either end., , The, , Cube, , A cube is a box with six square sides. Pure examples of cubes are dice, filing cabinets, sheds,, and washing machines. The cube is the most difficult form to draw correctly because it involves, linear perspective., , A cube is a six-sided form; each side is a flat square. This is the most difficult of the five basic, forms to draw because it requires an understanding of linear perspective, DRAWING SILHOUETTES, Silhouettes are an image of particular subject as a solid shape in which the outline of the subject, really is the focus here. Silhouettes in art actually go back pretty far, becoming quite popular, in the mid-18th centur.It allows you to focus on the outline of the subject to help you determine, what attributes of the object are important to portray in your drawing., , Mrs Meghashree- CCIS, , Srinivas University

Page 31 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , Silhouette and Line, The simplest depiction of an object its silhouette, or outside contours. When begin to draw an, object, usually start with its outside contours., Choosing which silhouette to draw is important. The more information available in a drawing,, the more likely the viewer's acceptance of the drawing's illusion of reality. If the silhouette is, informative, the subsequent layers of light, shadow, and texture will be more understandable., With a subject such as a cow or a pitcher, it is the side view that provides the most information., Naturally we do not want to limit ourselves to side or profile views. But because the, contour/silhouette is the first thing we see, it helps to present significant information at this, level., Many drawings are restricted to just line, with no definition in values. In such drawings the, silhouette is supplement by internal lines that can describe overlapping forms, changes in, direction (such as the corner of a cube), or changes in colour and value (such as the sports on a, leopard or the edges of a cast shadow). These lines are a code virtually everyone understands,, but they do not create the illusion of reality; they are always abstract. Because most drawings, and paintings start with outer contour and internal lines, even if only as a preliminary guide, it, is appropriate to practice their use., , An object's silhouette is the first thing we see. The angle from which you view an object, determines its silhouette, and some silhouettes give more information about the object than, Mrs Meghashree- CCIS, , Srinivas University

Page 32 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , others. When you draw an object, your choice of an informative silhouette will greatly enhance, your viewer's perception of the object., CONTOURING, We’re actually going to briefly cover three types of contouring here: blind contouring, modified, contouring, and cross contouring., Blind Contouring, Blind contouring is a drawing exercise that many artists utilize to train the eye to draw what it, sees instead of what it believes it sees. it’s sort of the next step up to practicing silhouettes. You, basically draw the subject without looking at the paper.Yes, your drawing will probably be, ugly. This may seem silly or a wasteful exercise but like drawing silhouettes, you are really, focusing on object and drawing from your brain., https://www.youtube.com/watch?v=qqicqYiqen4, If you have trouble putting pencil to paper when first starting, begin with a blind contouring, exercise. You aren’t expected to create anything great from these so it helps by subconsciously, lowering your expectations for sketching. You won’t feel like everything you draw needs to be, perfect. It allows your creative mind to be more freeing while also exercising your drawing, skills by using both senses of sight and touch., Modified Blind Contouring, You can also practice a modified blind contouring where you still use one continuous line, but, you can look at the paper to make sure that your pencil isn’t completely wandering off the, paper. Make sure you are still spending almost 90% of the time looking at the object. The more, you practice this, the less your paper will wander off and the more in tune you will become to, the object and your drawing space., Cross Contouring, Contouring an object helps add more dimension and shape. You use parallel lines across the, surface of the object. This is better explained in a picture., , Mrs Meghashree- CCIS, , Srinivas University

Page 33 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , See the hand on the left? The lines are very straight and parallel to each other. Now look at the, one on the right? The edges of the line are curved towards the edges of the hand outline. The, lines on the right hand are still relatively parallel to one another but not straight. This gives the, right-hand way more dimension while the left hand still looks flat., Exercise, Start off by blind contouring your hand. After that, do a modified blind contouring of your, hand. Lastly, trace your hand on a piece of paper and practice cross contouring. Repeat those 3, techniques with other objects, such as a water glass or a vase., , Mrs Meghashree- CCIS, , Srinivas University

Page 34 :
1st Sem B.Sc. Animation, DFM & VFX, , Foundation Art I, , 4/5 Marks Questions:, 1., 2., 3., 4., 5., 6., , What is drawing? What are the reasons to draw?, Write note on Pencils?, Write note on Hard Pencil?, Write note on Soft Pencils?, Write note on Graphite?, Write note on:, • Blending Stump, • White Chalk, 7. Write note on Papers., 8. What is the different type of paint?, 9. What is the different type of erasers?, 10. Write note on Different types of Sharpeners?, 11. Write note on different coloured pencils?, 12. What re the 5 Grips for Holding a Pencil for Drawing?, 13. Explain 2 Dimensional Shapes with examples?, 14. Explain the Grid Method?, 15. Explain Guidelines with an example?, 16. What are 3 Dimensional shapes? Draw 3 dimensional shapes., 17. How to draw a SILHOUETTES?, 18. Explain 3 types of Contouring?, 19. Demonstrate cross Contouring., , Mrs Meghashree- CCIS, , Srinivas University

Page 35 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Unit 2, Lighting and Shading, Introduction, Light is actually electromagnetic radiation that is visible to the eyes, which gives, us the ability to see. It travels as both particle and wave. When a light wave hits, an object, it can be reflected, absorbed, or transmitted. The object determines, what happens to the light wave that hits it and that produces colour. An object, appears to be black, when all the wavelengths of light hitting that object are, absorbed; no light is reflected. Solid objects, for the most part, will reflect light, and transparent objects will transmit light through them. To illustrate this last fact,, place a glass of red fruit juice on a table. Hold a piece of white paper on one side, of the glass and chances are, if the light in the room is right, you will see red on, that piece of paper. The light transmitted the red colour of the juice onto the paper., Light is not only the reason for visibility, it also creates dimensions to the object, depending on the shape and form. It also suggests gravitation, weight to the, object., Values of Light, Establishing a light source is crucial to giving dimension to any object. Once you, have a form drawn in perspective the next decision is determine the direction of, the light source. There are three basic elements of light as it acts on an object., , First, “direct light” refers to the strongest or primary light source. On the cube, illustration, below have given the object a strong clear light source that comes, from the upper left and results in a “highlight” or bright spot. Second, have, indicated a clear shadow side on the cube. This gives the object depth and a sense, Meghashree-CCIS, , Srinivas University

Page 36 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , of drama by creating strong contrasts between light and dark. Third, added a “cast, shadow” behind the cube to place it clearly on a surface There is another, important point about creating the illusion of depth and dimension. On all the, geometric forms below, used graduated tones or “transitions” to indicate each, surface of the object. This means that did not simply put a flat tone on each, surface. Instead, allowed the tone to constantly change in value. This is another, way to add depth to an object. On the shadow side of each geometric form you, can see “reflected light” near the lower right corner or edge. Light always seeps, into shadows causing the tones to lighten in places. also allowed the cast shadow, to lighten as it moves out and away from the cube. This conveys the effect of, “ambient light” bleeding into the shadow. Ambient light is simply light that is, bouncing around in an environment causing shadows to vary in tone., Drawing the Shadow:, Cast Shadows, For purposes of clarity, a distinction is made between the shadowed part of an, object (which we will refer to simply as shadow) and the shadow the object, creates on another surface (its cast shadow). Each has distinct functions, and, knowing them can help you create the illusion of three-dimensional form in your, drawings., , A shadow is defined as the part of an object not receiving light., A cast shadow is the shadow on object casts on another surface by blocking the, light., Shading, Shading is a vast area that includes the understanding of light, light quality and, the effects on the surrounding. Since the light constantly varies from morning to, night the visuals in our observation dramatically change. Also, the artificial lights, that we use during the night also vary by their amount that creates variable visual, Meghashree-CCIS, , Srinivas University

Page 37 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , experience. When we are doing light and shading in art work we need to have this, basic understanding, so that we can recreate the nearest visual appeal compared, to the real-life experience., • Here are few points to note the importance of light. Objects with different, surfaces respond to the light in different ways. For our convenience, say, Matte,, semi matte, smooth, semi smooth, shiny surfaces., • The direction of source light is important to get desired visual effect., • We can technically say that there can be three key lights, one is high key light,, second is low key light and the third is back light., • Soft light always makes us to see more tonal values. And hard light will produce, contrast visual effect., Shading techniques/Shading Types, Using different drawing techniques can help create tone (light and shadows) in a, drawing. These techniques can include small dashes, hatching, cross-hatching,, stippling (dots), scribbles, small crosses, and small circles. Each technique also, has its own variations., (Refer Worksheet), , Meghashree-CCIS, , Srinivas University

Page 38 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , DRAWING VALUE, Besides outlines and contours, light and shadows can also help define an object., Especially in more realistic drawings. Value (the different shades of Gray, between white and black) can be used to assist in the depiction of an object., Value and the Illusion of Form, We now look at how value-the relative lightness or darkness of a color-defines, the basic forms. Value shapes are, in fact, stronger indicators of form than outside, contours. Increasing our awareness of how value defines form will greatly, enhance our ability to create the convincing illusion of three dimensions in the, objects we draw and paint., , Value patterns are stronger indicators of form than contours. Here, the value, pattern on A describes the square as the face of a cube parallel to the picture plane., The value patterns on square B and circle C describe cylinders, while the pattern, on circle D actually describes part of a cone., , Notice how the dark value shapes alone can define the basic forms., https://www.youtube.com/watch?v=zWmb_gRBhWU, , Meghashree-CCIS, , Srinivas University

Page 39 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Exercise, (Refer, Worksheet), Make a value scale using 5 values. Draw 5 squares next to each other. Shade in, the first square until the value is black. In the next square, shade it so that the, value is slightly lighter than the first. Repeat for squares 3 and 4. Leave the last, square white., Your 3rd box is your mid-tone. Your last box will act as the highlight value., Incorporating just these 5 values can already make your drawings look more, realistic. Of course, there is a large range of greys between black and white. Not, just 5. As you become more skilled, you can utilize more values in your drawing., Make use of value scale., 1. A value scale is a tool that can assist you in comprehending tonal, relationships. Because it has a middle value., 2. You can build a value scale by marking 5 swatches. Then, using light, shade, begin with swatch 1, as dark as you can go. And swatch 5 as light, as you can go (leaving as just paper.). Then in the middle, add an estimated, tone. To complete the scale, add the remaining tones., , Meghashree-CCIS, , Srinivas University

Page 40 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Shading Geometrical Shapes and Shadows:, following picture shows a light bulb and several geometrical shapes; circle,, triangle, cylinder and a square. You'll notice that one side of the shape is light and, the other is darkened. All you need to know or keep in mind is just that. What the, light doesn't hit, it is darkened. In this example, all you have to do is picture the, light source and the object which is being hit by the light - which part will the, light hit? How far will the light go?, , You also have to ask yourself where the light source is coming from. If the light, is far above, the shorter the shadow is (try checking out your shadow at noon 12:00PM) whereas the lower the light, the longer the shadow will become., According to the light source, make your shadow fit accordingly. Good thing to, remember also: what is the shape of the object I'm giving a shadow? Each of the, shapes in the picture each have their own unique cast. The triangle has a pointy, shadow, the circle has a circular shadow, the cylinder has a rectangular shadow, and the cube has a "L"-like shadow. At a different angle, though, the cube will, cast a different shadow shape. For instance, if the light was head-on to one of the, flat sides, it will cast a square to rectangular shadow depending on the light, source's height. With that in mind, you also need to remember: what is the shape, of the object the shadow is falling on top of? The current example only has a flat, surface on which the shadows fall but, in most cases, shadows of - say a characterwill fall on rocks or on water, which will look different compared to each other., Keep in mind: The darker the shadow, the brighter the light source. As the, shadow is drawn further from the object, the lighter it becomes., Meghashree-CCIS, , Srinivas University

Page 41 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Discovering Tonal Variation in photographs:, 1. Light and shade should be separated., 2. All areas which are immediately touched by the light source are, belong to the light family. Looking at your subject from the, direction of light can see, is a good approach to test this., Everything that is veiled from the light source belongs to shadow, family. All shadows and reflected light zones are included., , How to Draw a Sphere, A drawn sphere is made up of different “parts,” all products of the lighting you’re, trying to emulate in your drawing. These “parts” or “sections” are:, •, •, , •, , Highlight: The highlight is the lightest part of your sphere, where the light, source directly hits., Midtone: The midtone is the shading in the part of your sphere where the, light is not directly hitting. It is still in the light source’s line of sight, but, not direct enough to be as bright as the highlight. It is the middle tone of, the sphere., Core Shadow: The core shadow of your sphere is the part of the sphere, where the light from your light source does not hit, at all. It is the darkest, part of the sphere, and directly opposite from the light source., , Before you start drawing, you’ll need:, •, •, •, •, , A sheet of paper, 3B-HB pencils, Cotton balls or tissue, Something circular to trace, , Step 1 – Trace a circle, Meghashree-CCIS, , Srinivas University

Page 42 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Grab something circular, like a cup or a small bowl, lay it flat on the paper, and, trace the circle., , Step 2 – Lightly fill in the sphere, Very, very lightly, begin shading the sphere using quick, gentle sketching, motions. Decide your light source, and shade around that space., , In this example, the light source is represented by the arrow, and there is patch, immediately in front of the light source that is left unshaded., Step 3 – Smooth out the shading with a cotton or tissue piece, , Meghashree-CCIS, , Srinivas University

Page 43 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Iron out that grainy, graphite look with a cotton ball or a small corner of tissue,, giving your sphere a smoother, reflective looking surface. Take caution not to, smear your graphite too much out of the lines, or to smudge your light source’s, reflection., Step 4 – Darken the shadows, , Return to shading the sphere, this time darkening out the areas where the light, source does not hit. This is the mid tone., Step 5 – Smooth out the shadows, , Meghashree-CCIS, , Srinivas University

Page 44 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Repeat the process from Step 3. Using a cotton ball or corner of tissue, smooth, out the graininess of the shadows you just added, taking care to leave the light, spots where they should be., Step 6 – Darken the outer edges, , Shade the shadows again, this time paying closer attention to the outer edges of, the sphere opposite the light source, and on either side., Step 7 – Smooth out the shadows, , Meghashree-CCIS, , Srinivas University

Page 45 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Smooth out the graininess of your newly added shadows once again. We want the, smoothest looking sphere possible!, Step 8 – Darken the side opposite the light source, , Shade the sphere more, focusing especially on the border of the circle opposite, the light source. Use your 3B pencil for added darkness. Start moderately dark, along the border, and branch out your shading in a crescent shape. The root of, this shading is the core shadow., The light source is going to add a shining, reflective circle opposite your newly, added shadows, called a highlight.., Step 9 – Smooth out the shadows, Meghashree-CCIS, , Srinivas University

Page 46 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , If you want a smooth shade with graphite, it’s all about the cotton and tissue!, Smooth out your new additions, as you’ve done before., Step 10 – Clean it all up!, , Erase all the smudges and out of the line marks that have made their way outside, your perfectly shaded sphere, taking care not to erase anything within your circle., , Meghashree-CCIS, , Srinivas University

Page 47 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , DRAWING CONTRAST, Contrast brings out the light and shadows and makes your drawings appear more, realistic. Low contrast drawings will generally be completed using mostly light, and middle values where high contrast drawings would have mainly darker, values., Exploring contrast in a drawing, Contrast can be used to make your drawings more three-dimensional by, accentuating the light and shadows. By using extremes in values (more light and, dark values than middle values) you create a high-contrast drawing. For a really, powerful, strong, and dynamic drawing, you can draw very dark shading right, next to the light areas., When a drawing has mostly light and middle values, it is called low, contrast. Some drawing subjects need to be soft and gentle. You can create a very, soft drawing and still use a full range of values. Think about a white kitten, for, example. Most of the shading is very light, but the drawing becomes more, powerful if you use a little dark shading in a few selective areas, such as the pupils, of the eyes and the shadows., Contrast describes the relationship between light and dark values. To understand, contrast, make a value scale. Draw ten squares, making the first one white and, the last one black. Then create a range of eight grays between them, progressing, from light to dark. It is the distance between values on such a scale by which we, measure degrees of contrast. The farther apart two values are on the scale, the, stronger the contrast between them. Black is farthest from white; thus, when, juxtaposed, these two extremes create the greatest possible value contrast. Less, contrast exists between a light gray and a dark gray, and still less between a dark, gray and black, which are very close to each other on the scale. Contrasting values, placed side by side will accentuate each other; lights will appear lighter and darks, will appear darker., As you will discover, a skillful use of contrast can help you establish the illusion, of distance and define the quality of light in your drawings., , This is a value scale. Contrast is the, more values on the value scale., Meghashree-CCIS, , relationship of, , two or, , Srinivas University

Page 48 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The two cubes at left contrast less with each other than the two on the right., https://www.youtube.com/watch?v=wlLU05hmXyA, Example:, , Low contrast drawings will generally be completed using mostly light and middle, values where high contrast drawings would have mainly darker values. Shadows, and cast shadows in the distance will typically be lighter and less defined where, shadows closest to you will typically be darker and crisper., , Drawing Texture, When you draw an object, how do you make it look smooth and shiny? Soft and, furry? Rough and pebbly? Depicting textures convincingly in your drawings, involves finding a way to translate your sense of touch into visual terms. A good, way to start is to gain an understanding of how we are able to see and distinguish, among textures in the physical world, and how those visual clues convey tactile, qualities., Meghashree-CCIS, , Srinivas University

Page 49 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , CREATING TEXTURES, What Is Texture in Art?, Texture is one of the elements of art that is used to represent how an object, appears or feels. Sculptors and architects can create texture in a threedimensional work of art by manipulating the surface texture of a piece. Painters, can convey the illusion of texture in a two-dimensional work of art to imply how, an object or subject matter might feel if it was really touched., What Is the Difference Between Implied Texture and Physical Texture?, When making a work of visual art, you should consider the two types of texture,, known as physical (or actual) texture and visual (or implied) texture., •, , •, , Physical texture: The physical texture of a work of art refers to its tactile, texture that you can feel when you touch it. For example, the physical, texture of a work of art may be soft, hard, smooth or rough., Visual texture: Artists who create works of art on a two-dimensional, surface, such as painters or draftsmen, are creating a visual texture of their, work by manipulating materials on their canvas., , Easy example:, Clouds and Skies – Clouds appear soft and cottony. The sky behind is, smooth. There are three steps to create smooth skies with clouds., a) Lightly crosshatch with an HB pencil., b) Blend smooth with the chamois., c) Erase out the cloud formations with the white eraser, , Meghashree-CCIS, , Srinivas University

Page 51 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , “Value” refers to how light or dark an object or area is. A drawing is said to be a, value drawing when it is in black and white, when it has no color. Black, white,, and the many shades of gray in between the two are called values (and sometimes, tones)., Reflective Surfaces, Reflective surfaces are just reflections of what objects are around them. So if, anything is sitting next to the reflective object that you are drawing, those objects, will need to be included in the surface of the object that you are drawing., Value And Reflective Surfaces, On a glossy surface that is not metallic, only those areas of an object that are of, lighter value than the reflecting surface will be seen in the reflection. All values, darker than the reflecting surface will be seen the value of reflecting surface. For, example, the reflection of an object resting on the surface of a polished white, tabletop will show less of the object’s detail than the reflection of the same object, resting on a polished black tabletop. A polished gray tabletop will reflect, everything from gray and white; all other values will be seen as the gray of the, surface., When the reflecting surface is transparent, it’s value is determined by what is seen, through the transparency. Window glass is a reflecting surface but it has no value, of its own. If what you see through the window is dark, then the reflection you, see in the window will have many values and much detail. If what you see through, the window is light, the reflections in the window will show few values and little, detail., , Meghashree-CCIS, , Srinivas University

Page 52 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Reflections in a mirror are different from reflections in polished surfaces. A, mirror reflects all the values of an object; a polished surface reflects only those, values that are lighter than its own., , The reflection of an object in a polished (nonmetallic) surface will include only, the values that are lighter than the reflecting surface itself. Here, the light side of, the black cube and the front of the white cube are clearly seen in the reflecting, surface, which is a light gray. The reflection of the front of the black cube is the, same light gray as the reflecting surface, so we cannot see it. The gray cube is, slightly darker than the reflecting surface, so we don't see its reflection either., , Meghashree-CCIS, , Srinivas University

Page 53 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , A clear glass window is a reflecting surface but has no value of its own. The value, of the things you see through the window will determine how much detail you, see in a reflection in the window. The most detail appears in a reflection when, there are dark values behind the window., , Reflections are transparent except when they are very light in value. Here, the, pattern of the checker- board is visible except where the light bulb is illuminated, and where the reflection is very light., Drawing TRANSPARENCY, , Meghashree-CCIS, , Srinivas University

Page 54 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Transparent drawing is about knowledge of form by rejecting opacity you are, able to knowledge in one analogue drawing, a holistic object., Transparency, For an object to be transparent it must have a smooth surface; thus, all transparent, objects have sharply focused highlights. This is one of the clues we use to detect, transparent objects. A transparent object whose surface is slightly less smooth,, like wax paper, frosted glass, or a shower curtain, is translucent. Translucent, objects allow light through them but detail is obscured. Their highlights are less, sharply focused. Observation and use of these simple phenomena will help you, create the illusions of transparency and translucency in your drawings., , Meghashree-CCIS, , Srinivas University

Page 55 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Transparent objects have smooth surfaces and focused highlights. Translucent, objects, like frosted glass, have unfocused highlights. Details through translucent, objects are obscured., https://www.youtube.com/watch?v=lwHFI219Bg8, Exercise, Find two of the same drinking glasses and place them in front of you. Pour water, halfway into one of the glasses. Try drawing both of these and really take notice, of the areas where the two glasses appear different from each other., , BONUS, , EXERCISE, , This will help you practice your three-dimensional shapes, textures, values (with, light and shadow) by using different drawing techniques (like cross-hatching,, stippling, etc)., Sphere – Apply value with hatching with a light source shining on the top righthand corner., Cube – Apply value with cross-hatching with a light source shining on the top, left-hand corner., Meghashree-CCIS, , Srinivas University

Page 56 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Cylinder – Apply value with stippling with a light source shining from the right, side., Pyramid– Apply value with scribbling with a light source shining from the left, side., , Glossary, 1. Reflection: The light that strikes the surface of the object will reflect certain, amount of light back to the atmosphere, 2. Transmission: Light that Pass through the atmosphere, 3. Opaque: Block the light pass through, 4. Transparent: Allow the light pass through, 5. Translucent: Certain amount of light pass through, 6. Contour: Edges or outline of an object or thing, 7. Cross Hatch: Shading by cross lines, 8. Contrast: High ratio of black and white visual quality., , Meghashree-CCIS, , Srinivas University

Page 57 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Questions, 4/5 Marks, 1. What do you understand about the value of light?, 2. How do you understand light and its effect in shading?, 3. With example explain different types of shading/Shading technique?, 4. Explain value and illusion of form for different shapes?, 5. Demonstrate Shadow with a figure?, 6. Write in detail on tonal variations on photograph?, , Or, 8. How to Draw a Sphere?, 9. Demonstrate Shading Geometrical Shapes and Shadows?, 10. Make a value scale of solid shading and graduated tone?, 11. With an example explain contrast drawing?, 12. What are textures? How to create textures explain with an example., Or, 13. Draw a wood texture, glass texture, Marble texture, Rocks texture., 14. How to draw a reflection? Explain value and reflecting surface with an example?, 15. How to draw a transparency drawing explain with an example.?, , Meghashree-CCIS, , Srinivas University

Page 58 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , UNIT 3, FIGURE DRAWING, Introduction to Figure Drawing/ Human Anatomical drawing, Human Anatomical drawing is on of the most fascinating subjects that emerged, from the pre historic period. From the advancement of civilisation man tries to, communicate with each other by drawing the human figure in various actions and, poses. Today this form of visual representation is called as Visual Art. This gave, more extensive study of human anatomical drawing and also to create an extreme, poses and movements to active humour and fun. Study of human anatomy of, male, female and child is very essential from the animation point of view thought, they have many common features to share and have various differences. These, differences are marked by their physical features changes o the construction of, the skeleton to muscles and proportions of different parts of the body., The definition of drawing the basis of human anatomical figure is to know the, proportion, relative scale. rhythm and harmony of the form and the movements, and actions possible in human figures on the ideal beauty of the human form as, well as to express emotions and feelings through human gestures., The human figure is a three-dimensional structure of solid bones having weights., An understanding of human anatomy, the bone – structure and muscles reflects, in these works spontaneously., , Learning Stick Figures:, By studying the human anatomy, one can understand the body’s balance,, movements, twists and turns., We practise this through using stick from as it is an easy and understandable, method to draw the figure., Advantage of learning stick figure:, a. We will know where are the major joints of the body., Are located. For example, joints of the arm and legs and the degree to, which they can fold and rotate to facilitate certain actions and movements., b. We can understand the proportions of the parts of the body such as head to, torso and from arms to legs., c. We can easily understand the relative proportions of the parts of the body., Meghashree-CCIS, , Srinivas University

Page 59 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , d. We will be able to draw the figure in action without messing up of the, proportions., , General Anatomy of Stick Figure, Let's start from the basics. A common stick figure is constructed of:, 1., 2., 3., 4., 5., 6., , Head: roughly circular, Facial features (optional): easily recognizable, Neck (optional): thin and short, Arms: two of them, Spine: looking like a third arm, Legs: two of them, , It is widely known that a stick figure seen in the side view (2) shares most of its, characteristics with the front view (1). Therefore, perspective is useless when you, want to draw a stick figure, , Stick figure in front view (1) and side view (2), , Meghashree-CCIS, , Srinivas University

Page 60 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Draw a medium-length vertical line. It is the spine of a stick figure., , So, add feet to your stick figure., , Meghashree-CCIS, , Srinivas University

Page 61 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Each joint has its own range of motion., Actual range of motion depends on personal flexibility, The spine can use the hip joint, too:, , Of course, we can predict that the neck and arms will want to have their own, mobility, so let's add the clavicles., , Meghashree-CCIS, , Srinivas University

Page 62 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The arm has three joints that make it very mobile:, 1. Shoulder, 2. Elbow, 3. Wrist and fingers, , Meghashree-CCIS, , Srinivas University

Page 63 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Mannequin Drawings:, , A drawing mannequin is a small wooden figurine that is used by art students, to learn the draw human postures. It is very simplified version of the body, which can be movable exactly like human body. It is basically cylinder, ellipsoids, and constructed with joints at the neck, shoulders, elbows, wrists, waist, hips,, knees, and ankles. In the drawing important thing is to see how fore shortening, effects will be seen visually. This is difficult to understand in first instance, but, gradual observation will give you better idea to draw relative foreshortening., When the body is bending backwords, the entire body will be under fore, shortening but the reduction of the size varies according to perspective., , Drawing Figures in Block:, By simplifying the figure into blocks and cylinders you build up in your mind a, conception of the figure as a three-dimensional object in space., , Meghashree-CCIS, , Srinivas University

Page 64 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , These simple shapes as solid, three-dimensional cylinders and boxes, by which, the very much more complex shapes that comprise the human figure can be, analysed and understood. This kind of analysis can make an apparently, complicated and difficult pose easy to understand. Understanding it, you will be, better able to draw it., The technique provides a simple means of establishing the way the forms of limbs, and torso relate to one another in space. In creating figures from your imagination,, this grasp of three-dimensional form is something you will need to call upon, constantly as you draw: practice with these simplified forms will help to increase, the stock of knowledge you bring to bear on the task., , This is an excellent means of gaining an understanding of how a threedimensional object is represented on a two-dimensional surface., Introduction, Study of human anatomy of male, female and child is very essential from the, animation point of view thought they have many common features to share and, have various differences. These differences are marked by their physical feature, changes of the construction of the skeleton to muscles and proportions of different, parts of the body. Here we mainly concentrate on male and female anatomy for, the study., Meaning and Definition, Anatomy of the human body changes with gender and age with respect to, proportions, scale and skeleton and the muscles. Though many of the aspects are, Meghashree-CCIS, , Srinivas University

Page 65 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , common, we should separately study the anatomy of male, female and child, keeping these changes in mind., Ideal Proportion of Male Anatomy, The male body is defined by the height of the body which is proportionate to the, size of the head, width of the shoulder, torso and the ratio correlation of legs and, arms. In the below drawing of male body, it is shown that the total height is, divided in to eight equal parts. And one part is equal to the size of the head. The, shoulder is two heads and between the nipple one head. The waist is little wider, than one unit, the wrist drops just below the crotch. The elbows are just above the, naval. And the knee is just above the quarter line of the body. To understand this, correctly it is always suggested to draw the front, side and the back view of the, body., , Ideal Proportion of the Female Body, , Meghashree-CCIS, , Srinivas University

Page 66 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The female figure compared to the male figure wider at the hips with smaller and, rounded shoulders. The nipple is lower than the male and the waist line measure, one unit across. Wrists are even with the crotch. Five feet eight inches is, considered as ideal height of woman. Female naval is below the waist line the, nipples and naval are one head apart. But both are dropped below the head, division and the elbowed is above the naval., Child Anatomy, The anatomical drawings of the child by Leonardo Da Vinci, reflects the, proportions of a very small child. And it is important to note that these proportions, are constantly changes up to the age of adult hood and then stops growing. The, body of the child will have the smoother muscles which constantly develop with, age. That is why Childs body movements are much flexible compared to adults., Here in the below picture Ideal proportions of a male body at various ages is, given. You can observe how the proportions constantly vary with age. One year, child will be having four head units, three years old child will have five head, units, five-year-old boy will have six head units and seven-year-old boy will be, , Meghashree-CCIS, , Srinivas University

Page 67 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , having seven head units. Below five years the body appears little chubby, compared to the grown-up age., , Draw four stages of a male child to recognise the changes and growth., Apart from the ideal proportions of male and female, we must also remember, that there are other ways of classifying the proportion for various purposes. We, List them here to know the differences in them., 1. Normal proportion – 7 ½ head unit, 2. Idealistic proportion – 8 head unit, 3. Fashion proportion – 8 ½ head unit, 4. Heroic proportion – 9 head unit, , Meghashree-CCIS, , Srinivas University

Page 68 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Keeping the above proportions in mind we can draw quick sketches of human, body. In this below sketches we can notice that, when we are looking at the model, in some degree rules of perspective has to be applied to achieve correct visual, appeal. Most of the time what we see is the figures in actions and movements., Even otherwise the standing poses also may not be always straight. It is the, tendencies of the human body that it keeps changing the weight of the body on, either side of the legs to stand for long time resulting in to various poses., Anatomy by Arc, The human body parts can rotate and turn in arcs because it is always fixed at one, end and free at the other end. This result in full stretch rotations in to arcs, for, example, take the case of full arm. We can move it in 180 degrees on the side and, on the front, it can be moved in to a circle i.e., 360 degree. Similarly, from the, finger to wrist, toe, legs and neck can move in either full circle or into small arcs., This is one of the reasons why the movements of the body can produce a beautiful, rhythm, , Meghashree-CCIS, , Srinivas University

Page 69 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , General Shape of the Face, This diagram shows the difference face shapes we perceive (they are more subtle, in reality):, , Meghashree-CCIS, , Srinivas University

Page 70 :
Foundation Art I, •, •, •, , •, •, •, •, •, •, , B.Sc. Animation, DFM & VFX, , Oval: A reversed egg shape, narrowest in the chin and widest in the middle., Ellipse: A long face almost even in width. It can be narrow or broad., Triangular and Heart-shaped: They are the same in terms of a face, narrowest in the pointed chin and widest on top, but the one is framed by a, straight hairline, the other a widow's peak., Round: Appears equal in length and width, with rounded jawline and, hairline., Square: Appears equal in length and width, with squared jawline and, straight hairline., Rectangular (or Long, or Oblong): Like Square, but longer than it is wide., Pentagonal: Like Rectangular, but with a narrow chin that creates more, angles in the shape., Diamond: Narrow chin and forehead, face widest in the middle., Pear-shaped (or Trapezoidal): Widest at the chin and narrowest at the, forehead, very full jawline., , Live model study, , • The standard pose for a life class model is to stand in a relaxed position, with arms hanging by the sides or to bend with one hand resting on the, hip., • That's fine, because the foundations of sketching are best taught and, absorbed by studying these simple standing positions., • Many students are impatient and dissatisfied with such positions, and, they are continually pushing to have the model placed in a “fancy” stance, Meghashree-CCIS, , Srinivas University

Page 71 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , or one that may be used in a composition or a piece of work that they are, working on., • But there's never enough time to study simple standing poses to underline, the importance of two things in drawing: first, movement, and second,, getting the figure to stand with its feet in the right place., • Mark a line at the top and bottom of the page to demonstrate the, limitations within which you intend to keep the figure before beginning a, sketch from life. Do it all the time., • It may seem insignificant, but it is better to train yourself to maintain the, size of the figure you chose at the outset., • When the demands of perspective necessitate that a figure be a given size, in pictorial compositions, it will be much easier to accomplish. If any, corrections are needed between the marks limiting the size of the figure,, do so within the space provided. If the legs are too short, for example,, don't lengthen your drawing; instead, shorten the body., • Getting the right proportions and taking accurate measurements can be, difficult. Some people recommend drawing a line around the traditional, or ideal height and then building a figure around it., • When drawing a figure for a practical work, this may suffice. Others start, by determining the number of heads (7 or 71/2, depending on the, situation) that the model in front of them has., • They do this by measuring the length of your arm. It's done in the, following manner: With the arm extended and the pencil held between, the eye and the model, a pencil is held in the hand with the thumb free to, glide along its edge., • Now the two visual rays from the extremes of a length are measured on, the pencil by looking at where they cut points—one at the end of the, pencil and the other along its edge, which is set by placing the thumb, there., • This length is compared to another length that has been determined in a, similar manner., , Meghashree-CCIS, , Srinivas University

Page 72 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , • So, taking the size of the head, relative to the pencil, and calculating how, many times it goes into the entire height of the figure arithmetically is, one approach to go about it., , •, 1. Draw line halfway between the top and bottom of the figure., 2. Draw a line from the widest point of the hips to the slope of the hips., 3. Draw the supporting leg's action line., 4. Draw a perpendicular line through the area where the ankle will appear., 5. Draw a line across the shoulders to indicate their position and slope. The, perpendicular line will be severed at the middle of this line (head of sternum)., 6. Draw the head, paying attention to its poise and the fact that the line for the, neck continues into the line for the body's movement or activity., 7. Describe the motion of the opposing leg. The sketch thus far should give you, an idea of how the pose will flow in general., 8. Draw the lines that will be used to make the arms., 9. When sketching out the body, keep in mind that the chest is shaped like a, box, and the hips are likewise shaped like a box. The flexible region of the torso, between the more or less fixed forms of chest and hips is affected significantly, by the figure's movement., 10. As you go forward, keep proportions and movement in mind, and make sure, the figure stands with its feet firmly planted on the ground. When working this, method, keep in mind that the arm must be stretched the same length each time,, Meghashree-CCIS, , Srinivas University

Page 73 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , and the pencil must be held perfectly upright. Again, do not move, but remain in, the same position so that your eye is at the same level and distance from the, model at all times. This would be a wonderful way of working if it were, possible to maintain the head fixed like an automaton, the arms moving, mechanically, and the picture plane, or no change in its distance from the eye., Drawing Props and Costumes:, A prop is something that a character interacts with. Think of it as prop being, short for property, like it something that belongs to character., The production of garments for a character's or performer's overall appearance, is known as costume design. Costume can relate to a nation's, a class's, or a, period's form of dress. It may, in many situations, contribute to the richness of, the artistic, visual universe that is specific to a theatrical or film production. The, simplest designs are created to indicate status, give protection or modesty, or, provide visual flair to a persona., Costumes can be for a theatrical, cinematic, or musical performance, but they, are not limited to that. Although both generate stage clout, costume design, should not be mistaken with costume coordinating, which just entails modifying, existing apparel., , Meghashree-CCIS, , Srinivas University

Page 74 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Questions:, 4/5 Marks, 1. Write short note on Human Anatomical drawing, 2. What are the advantages of learning stick figures? Write in detail., 3. Demonstrate general anatomy of stick figure., 4. Write note on Mannequin Drawings, 5. How to draw figure in block., 6. What is the step-by-step process for drawing live model? Explain, 7. Draw and explain general shape of the face., 8. Define what is the ideal proportions of human figure through examples, 9. Draw male figure and explain the anatomy., 10.Draw female figure and explain the anatomy., 11. Draw various changes in anatomical proportions of a male figure at, various ages, 12.Write note on drawing props and costumes., , Meghashree-CCIS, , Srinivas University

Page 75 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , UNIT 4, PERSPECTIVE DRAWING, Introduction, Most of the objects we see are much larger than our eyes. The reflected light from the objects, gets projected in the form of an image on the retina of the human eye. The relative sizes of the, projected images and foreshortening (the shape distortions due to distance) gives us the clues, of the original size of the object and the distance in which it lies. The field of vision (the, imaginary frame the eyes can see) increases in size as the distance from the eye increases. The, size of the objects appears to get smaller and smaller as they move away from you. This is, known as Perspective Reduction. In perspective drawings, while drawing objects, if we try to, reproduce perspective reduction, the sense of depth and the relative sizes of the objects will, become perceivable. According to the angle of viewing the images tend to get reduced in one,, two or more directions. This is known as one-point, two-point or three-point perspective. The, angle of viewing we refer to is in relation to an imaginative line called the Horizon Line., Artists during Renaissance started to explore the perspective effects in their paintings to, increase the realistic visual appeal., What is Perspective?, The visual perception of everything we see in our daily life undergoes a primary effect, also, known as PERSPECTIVE. It is embedded in our seeing of the world., Perspective always has a relation to the viewer’s position, with respect to what he is looking, at:, • Eye level →, • Distance from the object →, • Angle of vision→, Since the eye is the device through which we see things, let us know explore how our eye, functions., , Meghashree-CCIS, , Srinivas University

Page 76 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , • Cone of vision is the area where the eye can see things clearly. If the object is out of the cone, of vision it cannot be seen clearly by the eye. The object also appears distorted., • Angle of vision also results in change in the appearance of the view. This will happen when, we turn our head up, down or in an inclined position and view the object., Linear Perspective Terms, Principles/Rules of Perspective:, Visual depth is expressed through linear and atmospheric perspective, as well as color use., With linear perspective, depth is achieved through lines and the size and placement of, forms. And though compositions can vary in complexity, the basic terms and definitions, covered in this section are inherent to linear perspective drawings., The horizon is the line for which the sky meets the land or water below. The height of the, horizon will affect the placement of the vanishing point(s) as well as the scene’s eye level., The vanishing point is the place where parallel lines appear to come together in the, distance. In the picture, below, you can see how the parallel lines of the road recede and, visually merge to create a single vanishing point on the horizon. A scene can have a, limitless number of vanishing points., , Meghashree-CCIS, , Srinivas University

Page 77 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The ground plane is the horizontal surface below the horizon. It could be land or water. In, the image below, the ground plane is level. If it were sloped or hilly, the vanishing point –, created by the path’s parallel lines–may not rest on the horizon and may appear as if it’s on, an inclined plane., The orthogonal lines are lines which are directed to a vanishing point; the parallel lines of, railroad tracks, for example. The word “orthogonal” actually means right angle. It refers to, right angles formed by lines such as the corner of a cube shown in perspective., The vantage point, not to be confused with the vanishing point, is the place from which a, scene is viewed. The vantage point is affected by the placement of the horizon and the, vanishing points., , Foreshortening, Foreshortening is important to understand because it can be necessary when trying to portray, depth in your drawing. Foreshortening creates an optical illusion by drawing a compressed, version of that object. It can distort the viewer’s perspective of the drawing and make them feel, , Meghashree-CCIS, , Srinivas University

Page 78 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , like the object is actually coming out of the paper or make them feel like the object is deeper, into the paper., Foreshortening objects will distort them by shortening it. It can be difficult because it doesn’t, look exactly like what your brain remembers the object to look like., , Diminution, When you are watching natural scenery of great depth, you feel the mountains in the far are, not clear in detail and the colour is dull. This phenomenon is known as diminution., , Meghashree-CCIS, , Srinivas University

Page 79 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , One Point Perspective:, One Point Perspective is a type of linear perspective that uses a single vanishing point to, create the illusion of depth in a work of art., There are several methods of linear perspective, but one-point is a single point perspective, and is the simplest., One point perspective assumes the flat, facing planes of objects have no depth but the sides, and edges leading away from the viewer have depth. The artist need only decide the vertical, and horizontal measurements of each form and connect them to a single vanishing, point. This will create an illusion of depth on paper., One Point Perspective Boxes, The one-point perspective method of drawing is best suitable for drawing box-like objects., Here’s an example of a one-point perspective cube:, , Step One, Draw a horizon line. The horizon line is a horizontal line that will represent eye level in the, scene., , Step Two, , Meghashree-CCIS, , Srinivas University

Page 80 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Place a vanishing point on the horizon line. The vanishing point is going to be the point at, which we draw the box back towards (you’ll see in step 4)., , Step Three, Draw the closest side of the box. This is a square shape., , Step Four, Connect the appropriate corners to the vanishing point. Creating these perspective, lines automatically makes the drawing seem more real and three-dimensional!, , Step Five, , Meghashree-CCIS, , Srinivas University

Page 81 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Notice how these final lines in the back are parallel to their coinciding lines in the front. The, verticals (orange) are vertical in both the front and rear of the box. The horizontal lines, (blue) are horizontal in both the front and the rear of the box., , Step Six, You can draw all lines lightly first and then ink things later on when you’ve fixed up the, drawing., , It’s important to draw each box to the same vanishing point. Remember: using a single, vanishing point is how one point perspective earned its name!, One Point Perspective Room, Let’s construct a one-point perspective bedroom and include some of these typical items:, •, •, •, •, •, •, , bed, chair & desk, posters, bedroom door, rug, bedroom window, , One of the easiest ways to draw a room is to construct the empty “shell” of the room and then, to place all of the room items inside. While there’s many ways one can go about this, I think, it’s easiest to draw the back wall first go from there., Step 1, , Meghashree-CCIS, , Srinivas University

Page 82 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The proper height of the horizon line and position of the vanishing point can be calculated, after the far facing wall (rectangle) is drawn. The horizon line (eye level) will determine, from what height our viewers of the illustration are at.After you’ve determined and drawn, your horizon line, place a vanishing point somewhere on the line. Visually, the vanishing, point is the point on the far facing wall that is directly in front of you. In the example above, this room drawing will look as if we are standing central to the back wall and looking straight, at it., Step 2, , Now connect the corners of the far facing wall (rectangle) to the vanishing point! The dotted, lines are there just to show you that these perspective lines that make up the room’s sidewalls are indeed drawn to the vanishing point. We only need the lines drawn from the, rectangle (wall) outward… like in the example below., Step 3, , Meghashree-CCIS, , Srinivas University

Page 83 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , step 4, , Drawing a door on the back-facing wall is nothing more than a flat rectangle., Step 5, , In the drawing above we’ve drawn a desk. Notice that the desk is box-like and connects to, the vanishing point., Step 6, , Notice that the laptop and the chair are also drawn to the vanishing point., Step 7, , Meghashree-CCIS, , Srinivas University

Page 84 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , A bed is nothing more than a box-like form and can be drawn effortlessly if we connect it to, the vanishing point., Step 8, , The quickest way to make a boring looking perspective drawing is to only include the ruler, drawn architecture and not include some appropriate hand-drawn elements. As such added, some pillows, sheets, and a teddy bear for good measure!, Step 9, , To draw a rug on the floor of the bedroom just remember that it also gets connected to the, vanishing point., , Meghashree-CCIS, , Srinivas University

Page 85 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 10, , Finally, we get the chance to add a window on the left side. You’ll notice that the window, sill is a very thin, long box. Also notice that the lines that break up the window’s panes, adhere to perspective rules: each section gets smaller as in recedes farther away., Step 11, , The posters on the right wall, however have to be drawn to the vanishing point., Completed Room Drawing, , Meghashree-CCIS, , Srinivas University

Page 86 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , While the horizon line and vanishing point is necessary for the drawing process, it really, shouldn’t be included in your final drawing., , One Point Perspective Buildings, As an introduction to drawing exteriors, let’s draw a simple building in single point, perspective. You’re going to discover some cool things about measuring within the one point, perspective system!, Step 1, , As always establish the horizon line and vanishing point. . In one point perspective this is, simply a flat shape. The large rectangle above will serve as the front (closest) side of the, building. When dealing with one point perspective architecture, most lines will be vertical or, horizontal., Step 2, , The building is nothing more than a box. Connect the corners of the rectangle to the, vanishing point and end the form with a vertical line. Note the perspective lines are drawn in, red and are what gives the building depth., Step 3, , Meghashree-CCIS, , Srinivas University

Page 87 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The building needs a door. This is a great opportunity to learn about how to center things in a, perspective drawing. To find the middle of the rectangle, simply connect opposite, corners. Once the middle of the rectangle (building wall) is determined, we can draw a, vertical line straight through the intersection to get the two halves., Step 4, , With the middle of building marked, drawing the door is simple. We should probable draw a, walkway too. \note that the walkway consists of a pair perspective lines and must connect to, the vanishing point., Step 5, , Meghashree-CCIS, , Srinivas University

Page 88 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Check out the gray dotted line above. We can use that to help determine the appropriate, height of the second door. Without that gray line(s) we would be guessing and our, drawing would be prone to errors., Did you notice the orange “x”? Yep, we can also find the perspective middle of a box’s, side using that same corner-to-corner technique., Step 6, , Each window is very much a rectangle and doesn’t have any perspective to them., Step 7, , Just like we did with door, we can use the front windows to calculate the heights of the, windows on the other side of the building.!, Step 8, , Meghashree-CCIS, , Srinivas University

Page 89 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Pick one row of windows and draw them in. Make sure they get smaller and closer together, as they appear farther away., Step 9, , With one row of windows drawn in place you can extend each of their vertical lines through, the perspective lines (gray dotted) we drew earlier. The intersections will be precisely where, each window needs to be drawn., Step 10, , The vanishing point takes care of all the spacing. It’s almost magical how drawing to a, simple point can make things look real., , Meghashree-CCIS, , Srinivas University

Page 90 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 11, , Three Point Perspective Definition, Three-point perspective is a form of linear perspective that utilizes three vanishing points in, which forms utilize each of the 3 vanishing points to convey the illusion of depth on a twodimensional surface., While most three-point perspective drawings utilize geometric subject matter such as, buildings, cubes, and other rectangular prisms the technique is also useful for more organic, forms too., Keeping an understanding of perspective in one’s mind helps an artist to appropriately size, out objects. This helps artists create a realistic look of depth even though they are working, on a flat piece of paper or canvas., 3 Point Perspective Cube, Learning to draw a cube in proper perspective is an essential first task., View From Above, Step 1:, Draw a horizon line near the top of your paper. This will represent our eye level. Next place, two vanishing points on the horizon line, each near the ends of the line. Used a large red “X”, for first vanishing point and a large green “X” for my second vanishing point.also added the, third vanishing point all the way near the bottom of paper. indicating this (vanishing point #3), with a blue “X”., , Meghashree-CCIS, , Srinivas University

Page 91 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 2:, Next, construct one side of the cube using the first vanishing point and the third vanishing, point. also drawing the blue perspective lines to the blue vanishing point. Color-coding your, lines makes learning how to draw in 3 pt perspective easier., , Step 3:, Now it makes sense to draw the other plane of the cube. Notice how this time the green, perspective lines are being connected to the green vanishing point. Also notice that any of, the vertical lines of the cube get connected to the blue vanishing point., All of these perspective lines are converging on their appropriate vanishing point. Non of, these lines are drawn parallel to each other, which is an important difference when compared, to both one point perspective and two-point perspective., , Meghashree-CCIS, , Srinivas University

Page 92 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 4:, In this next step only added two lines. You can see that connect the green line to the green, vanishing point. You can also see how connected the red vanishing line to the red vanishing, point.Those two lines completed the drawing of the the top of the cube., Reminder: Here not picking the angles of each line here…simply connecting each line, to its appropriate vanishing point., , Using the Vanishing Points, drawn in some dashed-lines so you can see that the box is in fact using all three vanishing, points properly., , View From Below, Now let’s draw the same cube form, only this time from below. Take a look at the, illustration below, , Meghashree-CCIS, , Srinivas University

Page 93 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The first thing you’ll notice is that the horizon line has moved to the bottom of the, paper. This makes a lot of sense if you really think about it. If you want to create a, perspective drawing looking up at the subject matter you had better make your eye, level (horizon line) lower in the scene., You’ll also notice that we no longer see onto the top of the cube. But, rather we are now, seeing the bottom of the cube. The horizon line serves as an important indicator as to what, we can and cannot see. Keep this in mind when trying to draw a 3 point perspective, drawing. The eye level in the drawing sets off the narrative of the artwork, , 3 Point Perspective City, [ Viewpoint: looking down], Now that we want to show a viewpoint looking down on the buildings, it’s imperative that, the horizon line is placed near the top of the drawing. This along with placing each of your, vanishing points outside of your picture plane will typically give your a more natural and, realistic look to your 3-point perspective drawing., Step 1:, Draw your first building as a simple rectangular prism (box). Notice how each coloured, perspective lines are drawn straight towards its corresponding vanishing point., , Meghashree-CCIS, , Srinivas University

Page 94 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 2:, Now calculate the perspective middle of this building. This is a very useful technique and, one you’ll use often to solve spacing problems in many drawings., You can’t measure to calculate the middle of something in a perspective drawing, because object are being drawn smaller as they recede away from us. So instead, we can, use this nifty trick borrowed from geometry!, , Step 3, Next connect the intersection of the yellow lines (perspective middle of plane) to the blue, vanishing point. This splits the plane into perspective halves., , Meghashree-CCIS, , Srinivas University

Page 95 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 4:, Now we know where the building is split into halves and can easily draw a door. Just, remember, the door also uses the appropriate vanishing points., , Step 5:, starting on the right side and adding a variety of boxes that will look more like buildings later, when add doors and windows., , Meghashree-CCIS, , Srinivas University

Page 96 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 6:, To continue drawing buildings using the 3 point perspective method of drawing. It’s a great, idea to keep things simple and draw from foreground to background., , Step 7:, Continuing along with more buildings. Some are taller and some are shorter., , Meghashree-CCIS, , Srinivas University

Page 97 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 8:, Continuing to add more buildings to my drawing. Don’t forget to consider the size of the, buildings in relation to the buildings that are much closer., , Step 9:, Some of the buildings along the left and right edge of the compositionBecause we are seeing, a large proportion of the tops of these buildings ., , Meghashree-CCIS, , Srinivas University

Page 98 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Step 10:, Each line has its designated vanishing point to connect to., , Step 11:, For a quick primer on how to draw doors and windows in three point ,rawing buildings from, a street view looking up., , Meghashree-CCIS, , Srinivas University

Page 100 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The linework is finally complete. All the buildings have been properly drawn using 3, separate vanishing points. \, , Step 14:, First found the perspective middle to center the “H” on the top of the building. This was, very similar to how we centered the door in the first building. Each part of the “H” was, drawn to their appropriate vanishing points. This perspective drawing business is very, repetitive., , Meghashree-CCIS, , Srinivas University

Page 101 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Defining Two Point Perspective, Two Point Perspective is a type of linear perspective. Two Point Perspective is a, systematic way of drawing box-like objects or anything that can be logically arranged, into a geometric, grid-like structure. This 2pt drawing method is defined by 2 vanishing, points that represent 2 convergence points and infinite distance away. All geometric objects, that are arranged perpendicular or parallel to each other will have drawn sides that converge, on each vanishing point. This will become super clear in the examples to come., Why Learning 2pt. Perspective is Important, Learning 2 pt. perspective is one of the smartest things you can do as an artist. As a result, you’ll be able to correctly identify the angles that sides of objects make and draw them, accurately., Drawing A House Using 2pt. Perspective, Learning to draw a simple house in proper perspective is a great exercise. We’ll start off, constructing a simple box (rectangular solid)., STEP 1, The first thing you need to do is to establish your horizon line and two vanishing points. For, now you can draw the horizon line near the center of your paper. You’re going to want to, place your vanishing points as far apart as possible and both points need to be drawn on the, horizon line., The horizon line is a horizontal line that represents eye level., , STEP 2, Next you should draw the closest corner of the house. This is nothing more than a vertical, line., , Meghashree-CCIS, , Srinivas University

Page 102 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 3, To create the front side of the house you should connect the top and bottom ends of your, vertical line to the left-hand vanishing point., , STEP 4, You’ll have to decide how far back this wall extends. Pick a distance and end the side with a, vertical line. Remember that all vertical lines in this drawing will be parallel to each other., , Meghashree-CCIS, , Srinivas University

Page 103 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 5, Repeat the same procedure for the other side of the house / box. These lines can be seen, below in green., , Notice how the red lines are drawn to the left-hand vanishing point, the green lines are drawn, to the right-hand vanishing point and the black lines are all perfectly vertical and parallel to, each other., STEP 6, The top of the box can be drawn by connecting the remaining top corners to their appropriate, vanishing points., , STEP 7, At this point in the drawing it would be a good idea to clean things up a bit. Erase any extra, lengths you have on your lines., , Meghashree-CCIS, , Srinivas University

Page 104 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 8, Finding the middle of something that is drawn in 2-point perspective is not as easy as, measuring it. Because a perspective drawing accounts for visual space, things need to get, smaller as they recede away from the viewer of the drawing. To put this another way, the, back half of the box needs to be smaller than the front half!, Draw the spatial perspective properly!, Borrowing a simple technique from geometry we can find the perspective middle of our box, by connecting opposite corners. These lines (yellow) are only temporary so you should draw, them very lightly., , STEP 9, Next, with a perfectly vertical line you want to intersect the perspective middle of the box., This divides the box into two halves that are properly compensated in size for your, perspective drawing., , Meghashree-CCIS, , Srinivas University

Page 105 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 10, Now that you have the middle of the box located, you can add a door. There! Now this box is, starting to resemble a house., , STEP 11, Before you attempt to draw a roof you need to calculate the perspective middle. Check out, the yellow lines drawn below., , Meghashree-CCIS, , Srinivas University

Page 106 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 12, At this stage of the drawing, you can decide how tall or how much pitch the roof will have., Pick a point somewhere on the perspective middle (the tall yellow line). Next you’ll connect, that point to each of the top two corners of the right wall. (drawn in purple), , STEP 13, Next we’ll construct the ridge line portion of the roof. That’s the highest part of the roof. This, is simple. Just connect the point you established in the previous step to the left-hand, vanishing point., , Note: The next 3 steps require special attention. Most people fake or guess the angle and, positioning for the final line that constructs the roof. But, there is a precise way to draw it. It, requires some extra, temporary lines but is worth learning. Watch this…, STEP 14, You are going to construct the back wall of the house even though we can’t really see it. Do, this lightly., , Meghashree-CCIS, , Srinivas University

Page 107 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 15, Now divide that wall into its perspective halves., , STEP 16, Where the vertical line representing the perspective half (yellow) intersects with the ridgeline, (red) that is where the final line should be directed to. Simply note the intersection and, connect it to the remaining left-hand corner., , Meghashree-CCIS, , Srinivas University

Page 108 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 17, some extra lines drawn. Erase them before continuing, , STEP 18, Make sure you are drawing your lines to the proper vanishing point., , Meghashree-CCIS, , Srinivas University

Page 109 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 19, You can even draw a direction change in the walkway. using the other vanishing point to, create the direction change in the walkway, , Drawing a Bedroom in 2pt Perspective, How about a Two Point Perspective Bedroom?, STEP 1, The first step you need to accomplish is to establish your horizon line and two vanishing, points. For now you can draw the horizon line near the center of your paper. You’re going to, want to place your vanishing points as far apart as possible and both points need to be drawn, on the horizon line., Remember: the horizon line is the horizontal line that represents eye level to the viewer., Anything placed below this line and we’ll see the top. Anything placed above the horizon line, and we won’t see the top, but will see the bottom. This is assuming of course that the top, and/or bottom planes are visible., , Meghashree-CCIS, , Srinivas University

Page 110 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 2, Next you should draw the farthest corner of the bedroom’s interior., , STEP 3, To draw an interior wall of the bedroom, connect the top and bottom of the vertical line to a, vanishing point. When drawing interiors, walls go to opposite corners. This tends to confuse, beginners so pay special attention here. The wall on the left gets connected to the, vanishing point on the right., , STEP 4, Now you can draw the other wall. Remember that I’m color-coding things here so you can, follow along with no problems!, , Meghashree-CCIS, , Srinivas University

Page 111 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 5, With the empty shell of the room drawn we can now add perspective elements. Let’s turn this, empty box into a bedroom! Let’s draw a bed. A bed is nothing more than a box. We can use, our vanishing points to draw it. We can start by laying out the frontal plane of the bed., , STEP 6, Next you can draw the other side of the bed., , Meghashree-CCIS, , Srinivas University

Page 112 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 7, Finally, use your pencil and ruler to draw the top of the bed. Don’t guess at the angles. Use, the vanishing points when drawing your 2-point perspective bedroom!, , Yep, it’s nothing more than a box! (btw… you can add hand drawn details later such as, pillows, sheets, etc.), STEP 8, It would be wise to clean up the drawing. You should erase the parts of the wall that would be, blocked by the bed., , STEP 9, You need a doorway to get into your bedroom perspective drawing! Let’s add a doorway, now!, , Meghashree-CCIS, , Srinivas University

Page 113 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 10, You can even use one of the vanishing points to make it look like the door is open., , STEP 11, A bedroom wouldn’t be complete without a window. Make sure you are still using the, vanishing points., , Meghashree-CCIS, , Srinivas University

Page 114 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , STEP 12, Finally, you can erase any extra lines you had used in the creation of the window., , Questions:, 1. What is perspective drawing? Explain in detail?, 2. What are the principles/rules of perspective? Explain with an example., 3. What is Foreshortening? Explain with an example?, 4. What is Diminution? Give an example?, 5. What is one-point Perspective? Explain how to draw one-point perspective?, 6. Draw and explain how to construct two-point perspectives?, 7. Draw and explain how to construct three-point perspectives?, 8. Create one point perspective drawing of the Room?, 9. Create one point perspective drawing of the Road and Building?, 10. Create Two-point perspective of the House?, 11. Create Two-point perspective of the Chair?, 12. Create Three-point perspective of the city?, 13. Create Three-point perspective of the Cube?, , Meghashree-CCIS, , Srinivas University

Page 115 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , UNIT - 5, INKSCAPE, , Inkscape is an open-source vector graphics editor similar to Adobe Illustrator, Corel Draw,, Freehand, or Xara X. What sets Inkscape apart is its use of Scalable Vector Graphics (SVG),, an open XML-based W3C standard, as the native format., Inkscape is an open-source drawing tool for creating and editing SVG graphics. More than just a text vector, editor, Inkscape provides a WYSIWYG interface for manipulation of vector images, allowing the artist to, express himself freely. While other free and proprietary software exists with similar capabilities. Since the, beginning of its development, the Inkscape project has been a very active, providing stability for the current, software and growth of capacities in the future. Like other drawing programs, Inkscape offers creation of basic, shapes (such as ellipses, rectangles, stars, polygons and spirals) as well as the ability to transform and, manipulate these basic shapes by rotation, stretching and skewing., Vector graphics, Vector graphics are images are made up of a set of objects, usually a set of joined lines or curves which are, defined by a series of points (nodes) or a path., How did Inkscape start?, Inkscape was started as a fork of Sodipodi, in late 2003, by four Sodipodi developers: Bryce, Harrington, MenTaLguY, Nathan Hurst, and Ted Gould. Our mission was creating a fully, compliant Scalable Vector Graphics (SVG) drawing tool written in C++ with a new, more user, friendly (GNOME Human Interface Guidelines (HIG) compliant) interface and an open,, community-oriented development process. Within several months the project had produced, several releases, demonstrating a sequence of significant new features and improvements to the, codebase and quickly established Inkscape as a noteworthy Open Source project., , Meghashree-CCIS, , Srinivas University

Page 116 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Inkscape Interface, The Inkscape interface is constituted of elements designed to make work simple, harmonious, and contextual. It is composed principally of a single window in which one creates and, manipulates drawings. Within the window, lie particular components which this chapter will, identify, enabling readers to easily navigate the software., , We may divide the window into nine major areas:, 1. the Menu (at the top of the window), 2. the Commands Bar, 3. the Snap Controls Bar, 4. the Rulers, Guides and Grids, 5. the Tool Controls Bar (also called just Controls Bar), 6. the Toolbox, 7. the Canvas, Meghashree-CCIS, , Srinivas University

Page 117 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , 8. the Colour Palette, 9. the Status Bar, The Menu, , As in most GTK applications, the Inkscape Menu contains the essential functions of any, program, those which concern the application itself: New, Open, Save, Export, Quit, etc. The, Menu also consists of functions related to drawing., The Commands Bar, , The Commands Bar is located at the top of the workspace directly underneath the Menu. It, contains icons which are shortcuts to commands otherwise accessible from the menus or, shortcut keys. It also houses other controls for manipulating the document and drawing, objects. For example, from the Commands Bar one can open a new or existing document,, print, import an image, undo previous commands, zoom, open the dialog to adjust document, properties, etc. Hovering the mouse cursor over each icon will display its functions, through tooltips., , The Toolbox and Tool Controls Bar, Meghashree-CCIS, , Srinivas University

Page 118 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The Toolbox, consisting of vertically aligned buttons located on the left of the window, is, Inkscape's main editing control. It contains the basic set of drawing utilities, particularly, those for creating and editing shapes. There are controls for geometric shapes as well, as free-form shapes and lines, text, and fills (colors and gradients)., Located directly under the Commands Bar is the Tool Controls Bar., , Selecting a tool in the Toolbox changes the Tool Controls Bar to show particular options, associated with that tool. Depending on context, some of these options affect a, selected object while some take effect only when drawing a new object; others can affect, either existing or new objects., The Canvas, , The Canvas is the main workspace. It is the most central and important part of the interface, since a user creates and views drawings there. It occupies the middle of the window and is, represented as a blank "page" surrounded by open space. By default, rulers, Meghashree-CCIS, , Srinivas University

Page 119 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , measuring pixels (the standard SVG unit) run above and to the left of the Canvas, but one can, adjust these defaults (ruler visibility and unit) in Document Properties., Rulers, The Rulers are graduated lines placed on top and left of the canvas. The first is called, "horizontal" and the second "vertical". Graduations represent distances and are expressed in, units that can be set in the Units option of the Page tab of the File > Document, Properties menu command., When the mouse is over the canvas, two triangles appear in the rulers to show its X and Y, coordinates, relative to the page's bottom left corner. Those coordinates are also displayed in, the Status Bar (at the bottom of the document window) on the right, near the Zoom Control., Ctrl + R is a quick way to hide or display the Rulers. One can also do that with, the View>Show/Hide>Ruler’s menu command., , Guides, Guides are user-defined 'magnetic' lines. Using Guides makes object alignment easy even, with the mouse. To use Guides, click and drag from the Rulers to the point where the Guide, is to be inserted and release. Clicking and dragging from the horizontal Ruler produces a, horizontal Guide. Clicking and dragging from the vertical Ruler produces a vertical Guide., , Meghashree-CCIS, , Srinivas University

Page 120 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , File > Document properties lets you define if Guides should be displayed by default, and the, color of both the Guide itself and the highlight when the mouse is passing over., Guides are also often used with snapping making it much easier to place objects on the, canvas, especially for precise or technical drawings. In this case just check the Snap guides, while dragging checkbox., Grids, Instead of using lots of Guides, it can be useful to activate Grids. Do this with, the View > Grid menu or press # (Shift + 3)., Grids are of 2 types: rectangular and axonometric. They can be defined in the window from, the File > Document properties menu. Most commonly used is the rectangular Grid which is, made of vertical and horizontal lines., Axonometric Grids allow the user to define any kind of angled Grid which can be interesting, for technical or architectural drawings., , Meghashree-CCIS, , Srinivas University

Page 121 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Here is an example of a standard axonometric grid and a rectangular grid., , Snap Controls Bar, , The Snap Controls Bar gives easy access to object snapping enabling you to quickly turn, snapping on when required and the off when finished. It also allows customisation of the, snapping feature letting you select what can be snapped and what objects can snap to., Colour Palette, , Meghashree-CCIS, , Srinivas University

Page 122 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The Colour Palette is a quick way to apply colour to shapes. It is displayed at the bottom of, the Canvas, or can be opened in a window by selecting View > Swatches (Shift + Ctrl + W ), How to Use, To find the color you like, just scroll along the swatch line and choose. You can change the, color palette with another preset by clicking the triangle at the right of the bar and choosing, one., To apply a color to a shapes "Fill color", just click on a color after selecting one or more, shapes., To apply color to the "Stroke", press Shift while clicking and it's done., Status Bar, , Status Bar is the bottom-most area of the Inkscape interface. It includes (from left to right) :, •, , Color indicator for the object, , •, , Quick layer selector, , •, , Help message area, , •, , Mouse Coordinate indicator, , •, , and finally a Zoom Factor in which one can write the exact zoom factor they want to, use., , Working with files, Creating a New Document, •, , Select File > New from the menu bar (opens a list of all available templates, with Default at the top), , •, , Press Ctrl + N (creates a new document from the default template), , Meghashree-CCIS, , Srinivas University

Page 123 :
Foundation Art I, •, , B.Sc. Animation, DFM & VFX, , Click the New Document icon on the Commands Bar (also creates a new document, from the default template), , Opening a Document, There are a couple of methods for opening files:, •, , Open... - Opens a file in a new window for editing, making any work carried out, totally independent from concurrently open documents., •, , •, , o, , Select File > Open from the menu, , o, , Press Ctrl + O, , o, , Click the Open icon on the Commands Bar, , Import... - Imports a file into the currently active document you are working on. The, imported file becomes an object in the already open document., •, o, , Select File > Import..., , o, , Press Ctrl + I, , o, , Click the Import icon on the Commands Bar, , Saving a Document, There are several methods of saving files:, •, , •, , •, , Save - saves the existing document using the current file name., o, , Select File > Save from the menu, , o, , Press Ctrl + S, , o, , Click the Save Document icon on the Commands Bar, , Save as... - saves a new copy of the file under a different file name. T, o, , Select File > Save as... from the menu, , o, , Press Ctrl + Shift + S, , Save a Copy... - saves an exact copy of the current SVG file under a different file, name in whatever location the user specifies., , Meghashree-CCIS, , Srinivas University

Page 124 :
Foundation Art I, , •, , o, , Select File > Save a Copy... from the menu, , o, , Press Ctrl + Shift + Alt + S, , B.Sc. Animation, DFM & VFX, , Export Bitmap... - saves a bitmap rendering of the SVG file or some selection of, objects on the page. Currently only renders as PNG., o, , Select File > Export Bitmap... from the menu, , o, , Press Ctrl + Shift + E, , o, , Click the Export Bitmap icon on the Commands Bar, , TOOL BOX:, Select Tool, The Select Tool is used to select, position and transform objects on the Canvas with the, mouse or other input device., How to Use, Start the Select Tool one of three ways:, •, , Click on the Select Tool button in the Toolbox;, , •, , Press s;, , •, , Press F1., , Node Tool, , Meghashree-CCIS, , Srinivas University

Page 125 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The Node tool is used to select and manipulate nodes so as to be able to precisely modify the, shape of paths or curves. These paths can be standalone objects or they can be attached to, another object as a mask or clipping path. In addition to allowing manipulating of node, position, node handles extend from the node when it is selected which define the direction of, the path segments originating from that node., How to Use, To activate the Node Tool, click on the Node Button in the Toolbox or press, the F2 Key. The Tool Controls Bar will change to display the following buttons., , Tweak Tool, The Tweak Tool is an exciting way to edit drawings which largely blurs the distinction, between vector and raster editing. Instead of meticulously selecting some objects and then, performing an action on the selection, you can select all objects (or all objects you are, interested in) and apply the Tweak Tool's brush to smoothly and naturally change the shape, or style of only those objects (or parts thereof) that the brush touches., Zoom Tool, The Zoom Tool magnifies or "zooms in" on part of the canvas and, conversely, "zooms out"., Because of its utility, zooming can be accomplished from the Tool Commands Bar, the, keyboard or the mouse (or a combination thereof), and often does not require the Zoom Tool, to be activated., How to use, The Zoom Tool can be activated in the following ways:, •, , by clicking on the Zoom Tool in the Tool Box:, , Meghashree-CCIS, , Srinivas University

Page 126 :
Foundation Art I, , •, , B.Sc. Animation, DFM & VFX, , by pressing F3, , Rectangle Tool, The Rectangle Tool draws boxes (squares and rectangles) which are live shapes. Rectangle, live shapes can be given rounded corners as well., How to Use, A new rectangle is drawn by pressing the left mouse button and dragging the mouse., Rectangles have two square resize handles in opposite corners (top left and bottom right, when the rectangle is at its original orientation). Dragging the resize handles resizes the, rectangle's width and height simultaneously., , 3D Box Tool, Inkscape is a two-dimensional drawing tool. However, very often it is used to create, drawings or objects that appear three-dimensional. The 3D box tool helps you create such, drawings by automating the most common operation: creating a box in a, given 3D perspective. The tool automatically ensures that all sides of the box lie on the, corresponding perspective lines., , Meghashree-CCIS, , Srinivas University

Page 127 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Basic Usage, In order to represent an object in 3D (it's emulated 3D, so it's rather 2.5D), the 3D box tool, deals with axes (XYZ), planes (XY, XZ, YZ), parallel lines (PL), converging, lines and vanishing points (VP)., Each dimension can lie on either parallel or converging lines. These lines are drawn in, different colors, so that users could distinguish one line from another:, •, , red lines stand for X direction (width);, , •, , blue lines stand for Y direction (height);, , •, , yellow lines stand for Z direction (depth)., , Ellipse, With the Ellipse tool, the Inkscape artist can draw an ellipse, circle, or arc. As a Live Shape,, an ellipse can be converted to any elliptical shape (circle or oval); it can also be converted, from an ellipse to a pie segment or arc., How to Use, When an ellipse is drawn there are three edit handles: top (square), left (square), and right (circle)., The top and left handles control the horizontal and vertical dimensions, respectively., Dragging the right handle of a whole ellipse will create an arc or segment; this handle then, sets the degree of the arc or segment ., , Meghashree-CCIS, , Srinivas University

Page 128 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Star Tool, Stars and polygons are special shapes, difficult to draw by hand while maintaining a regular, shape. The Star Tool enables stars and regular polygons to be drawn easily in the document., This tool is very convenient even though it may be less often used than the Rectangle, Tool and Ellipse Tool., How to Use, To switch to the Star Tool, you can either, , •, , click the Toolbox icon, , •, , or press * ( Shift+8 ), , •, , Spiral, The Spiral Tool is one of the special class of tools that create Live Shapes. With the Spiral, tool, shapes of spiral arcs can be drawn., , Meghashree-CCIS, , Srinivas University

Page 129 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , How to use, Call the Spiral Tool with its icon on the Toolbox or by pressing F9 or I., , Pencil Tool, With the Pencil Tool ( P or F6 ), the Inkscape artist creates freehand paths by drawing, directly on the canvas in the desired curves. Inkscape evaluates the line or shape drawn by the, user and produces nodes to form the path. After the path is drawn, the nodes of the path can, be edited with the Node Tool, like other paths., How to use, Choose the Pencil Tool, then click and drag the mouse to draw the line. By default it has, no fill, but this can be set by any means (swatch or Fill and Stroke dialog). The line can also, be set with stroke properties and colors in the Fill and Stroke dialog., It is possible to close the line drawn while returning towards the initial point. When the, mouse is close to this point, the point changes color to red to specify that a release of the, mouse at this moment closes the shape., Pen Tool, The Pen Tool is used to draw paths made of bezier curves; beziers can form unclosed paths, or closed shapes. The pen tool is useful for drawing figures with smooth curves, and can be, particularly efficient for tracing images (e.g. for rotoscoping)., How to use the Pen Tool, Start the Pen Tool one of three ways:, •, , Click on the Pen Tool button in the Toolbox;, , •, , Press b;, , Meghashree-CCIS, , Srinivas University

Page 130 :
Foundation Art I, •, , B.Sc. Animation, DFM & VFX, , Press Shift + F6., , Left-click on the canvas to create the first node., , Calligraphy Tool, , The Calligraphy Tool uses dynamic drawing techniques that apply simple filters to the, cursor place and motion. The SVG "stylus" transforms as if it were a physical stylus or brush,, depending on its mass, speed, orientation and friction., How to Use, The Calligraphy Tool can be called by clicking its icon in the Toolbox or by, pressing C or Ctrl+F6., Calligraphy shapes are drawn in the same manner as any other shape - just click on the, canvas and drag., Bucket Fill Tool, The Bucket Fill Tool is simple - it fills in unfilled areas with color. Being a vector tool,, however, Inkscape's Paint Bucket actually creates a new path that "fills in" the area in which, you clicked., How to use, , Meghashree-CCIS, , Srinivas University

Page 131 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The Paint Bucket Tool works fairly intuitively: click in any area bounded on all sides and it, will fill it with colour - or, in reality, a path which can be filled and adjusted like any arbitrary, path., Text tool, The Text Tool makes it possible to write text in an SVG drawing., How to use, To invoke the tool, press Shift + Ctrl + T. Alternatively, there is a Text menu which allows, you to change the aspect of the characters or their behaviour with respect to other elements of, the drawing. Text Tool uses several short cut keys to modify typographic elements., There are two ways to use the Text Tool:, 1. Select the Text Tool and click on the canvas to create a simple line field. It will grow, with the written text., 2. Click and drag to draw a rectangle this becomes a text box: this frame will contain the, text and will be the limit for the word wrapping. The text box will not grow with the, text, so if there is too much text for the frame, some letters will simply not be, displayed. This frame can be manually resized by dragging the handle at the bottom, right corner. The Flow into Frame command of the Text menu makes it easy to use, any shape as a text container., , Connector Tool, The Connector tool (Ctrl+F2 or the o key) draws lines between objects that stay connected, to other objects as they are manipulated. Any object may be marked as an object to avoid,, which causes connectors to automatically route around the object. This is helpful for creating, technical illustrations like flowcharts., How to Use, Connecting, , Meghashree-CCIS, , Srinivas University

Page 132 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , A new connector can be drawn by clicking and dragging from any point on the canvas., Connectors can also be created with two clicks, rather than click-and-drag, if this is preferred., In this case, click once on an empty point on the canvas to begin drawing the connector,, then move the mouse to the new connector's target point and then click again to finalize the, connector. Single clicking on a canvas object selects/deselects that object, just as with other, tools. Usually connectors are drawn from an existing object:, , Gradients, The Gradient Tool allows the progressive passage of one colour to another (or multiple, others) in an object. It can be used on any shape, closed or opened, as a fill or, a stroke (applied separately). Any number of selected objects can simultaneously, display handles and direction lines for the linear and radial gradients in their fills or, strokes. You can drag these handles directly in the drawing, to interactively adjust gradient, positions., The gradient can be set in the Fill and in the Stroke Paint dialog to replace of any other type, of coloration., How to use, To invoke, either click the Gradient Tool icon, , or press Ctrl +F1., , Types of gradients, , Meghashree-CCIS, , Srinivas University

Page 133 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Dropper Tool, The Dropper Tool is used to select an object's fill or stroke color by sampling the color of, an area of the canvas. The color selected is the single point at the center of the cross at the, end of the Dropper Tool icon., How to Use, Select an object to which you want to apply a new color and press F7 or D to switch to, Dropper. Click a point on the canvas which is the desired color - the fill of the selected object, will be changed to the target color. Shift + Click to apply this color to the stroke., The shortcut D can be used to toggle (not just switch to) the Dropper tool — much like space, is used to toggle the Selector Tool. That is, pressing D a second time switches back to the tool, used before., , Path modification Effects, Modify Path Effects work on a selection of any number of paths and modify them in, various ways without creating new paths or deleting existing ones., Available effects, Envelope and Perspective, Maps bounding box of a path to quadrilateral to achieve effect of a perspective. These two, effects are quite similar, but differ in level of natural look of the desired effect., Here is how to use it:, 1. Draw your to-be-distorted path, 2. Draw and position a four-node path (envelope frame)., 3. Place the to-be-distorted path inside/above the envelope frame., 4. Select the path you wish to distort first and then add to selection the envelope, frame. The original position of the four nodes is considered to be clockwise, around the bounding box of the path to distort beginning in the upper left, corner., Meghashree-CCIS, , Srinivas University

Page 134 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , 5. Apply the effect., Here is the difference:, , Add Nodes, Adds nodes to the selected paths. Each segment of the selected path is subdivided into ceil, (Length/Max) equal length segments. Lengths are measured in SVG User Units calculated, from the path data and do not take into account any transforms., Parameters for example below:, •, , Division method: by number of segments, , •, , Maximum segment length (px): 5, , •, , Number of segments: 2, , Color Markers to Match Stroke, Currently available SVG 1.1 Full specification doesn't allow using the same color for the path, and its markers. This extension is a temporary workaround to fix that (until the new improved, SVG specification is out). Just change the stroke color of your path and call this effect to, recolor its markers to match., , Meghashree-CCIS, , Srinivas University

Page 135 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Flatten Beziers, Flattens paths in the current selection, approximating each path with a polyline whose, segments meet the specified criteria for flatness. Lower flatness values make a smoother line., Parameters for example below:, •, , Flatness:10, , Fractalize, Replaces each segment of the selected path by a crooked line, subdivided to the given depth,, with randomly displaced nodes., Available options are:, Parameters for example below:, •, , Subdivisions: 6, , •, , Smoothness: 4.0, , Jitter nodes, Randomly shifts nodes (and, optionally, node handles), Parameters for example below:, •, , Maximum Displacement in X: 50.0, , •, , Maximum Displacement in Y: 50.0, , •, , Shift nodes: checked, , •, , Shift node handles: checked, , •, , Use normal distribution: checked, , Meghashree-CCIS, , Srinivas University

Page 136 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Straighten Segments, Straightens curved segment to a user defined level (in percent), using of two behaviours, (1 stands for rounded corners, 2 stands for less rounded corners)., Parameters for example below:, •, , Percent:50, , •, , Behaviour: 1, , Whirl, Twists the selected paths around the specified centre point., Parameters for an example below:, •, , Amount of whirl: 15, , •, , Rotation is clockwise: checked, , Styling Text, Many modifications can be done to Text. Some are available in Text Option Bar, but some, aren't. Here is a little overview of the most useful options., , Meghashree-CCIS, , Srinivas University

Page 137 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Text Selection, •, , Ctrl with arrows left and right : moves the beam word by word, , •, , Shift with arrows left and right : selecting glyph by glyph, , •, , Ctrl Shift with arrows left and right : selection by words, , •, , Double click : select the word, , •, , Triple click : select the line, , •, , Shift + Home : select from the beginning of the line, , •, , Shift + End : select until the end of the line, , •, , Ctrl + Shift +Home : select from the beginning of the text, , •, , Ctrl + Shift + End : select until the end of the text, , Text Aspect, The Tool Controls Bar provides several options such as :, , •, , Font families, , •, , Font size, , •, , Bold style, , •, , Oblique/Italic style, , •, , Alignment, , MULTIPLE OBJECT OPERATION, , Copy, Clone and Duplicate, Introduction, The artist may have need, at some point in his work, to replicate an object he has created for, any number of purposes. Possibly he is populating a scene with bubbles or blades of grass, , Meghashree-CCIS, , Srinivas University

Page 138 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , which will all look exactly alike, or else he may want to create a very similar object which, has some minor modifications., Fortunately, Inkscape offers several tools to replicate objects. Each one has advantages in, disadvantages, of course, which will be defined also by the purpose of the replicant object., A strict copy of an object repeats the object on screen and within the xml code, and the new, object is entirely separate from the original. This means that changes can be made to the, replicant indifferently to the original, and changes made to the original do not affect the, replicant either. This is done with either the Copy or Duplicate commands., A clone is merely a repetition of the original on screen and in the code. Most modifications, made to the original, like fill and transparency, are transferred to the replicant as well, and, only a few modifications, such as transform and position, may be made to the replicant, directly (some of these only under certain circumstances). Clones are created with, the Clone command., How to Use, Copy, The Copy command ( Ctrl + C or Edit > Copy or the command bar button) makes an exact, copy of the selection in Inkscape's memory; the Paste command ( Ctrl + V or Edit > Paste or, the command bar button) puts an exact copy under the cursor. The last selection to be copied, can be pasted an indefinite number of times. It is also possible to paste the object wherever it, is needed, for instance on an other layer, without the trouble of having to reposition the copy, after its creation., Duplicate, The Duplicate command ( Ctrl + D or Edit > Duplicate ) allows you to copy and paste a, selection automatically with one command. The new object or selection is in exactly the same, position as the original and is selected (instead of the original), ready for further, manipulation., Clone, , Meghashree-CCIS, , Srinivas University

Page 139 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The Clone command ( Alt + D or Edit > Clone ) allows you to create a copy of the selection, that is linked to the original, also known as its parent. The clone's shape, style (fill and, stroke, transparency) and dimensions are linked to its parent. Thus, editing the parent's, transparency (etc.) will also affect the clone's transparency., You can clone multiple object by grouping them first., A clone can be a parent to another clone. Any modifications to the original will affect all, clones down the hierarchy of clones., The fill and stroke paint of a clone is the same as its parent's unless the parent has "Unset, paint" activated for either in the Fill and Stroke dialog. Unsetting fill will make the parent's, fill black as well as the clone's, but the clone's fill can then be reset while the parent's cannot;, unsetting stroke paint will make the stroke disappear so that the clone's stroke and stroke, paint can be adjusted while the parent's cannot (it will remain invisible unless paint is reset, for the parent)., Unlink clone, Unlink clone ( Alt + Shift + D or Edit > Clone > Unlink clone ) separates a clone definitively, from its parent, effectively making it only a copy. After that you can apply changes to the, parent without changing the copy., Select original, Use Select original ( Shift + D or Edit > Clone > Select original ) to find the parent of a, selected clone. This is very useful when you have lost your parent., , Clipping paths and masks, Introduction, Clip paths, masks, and patterns are greatly useful additions to an artist or designers' tool set., A common property that all three share is the concept of boundaries. Clip paths and masks, bound the contents of the items they contain, whereas patterns are only visible inside the, bounds of the object they are applied to (in all three cases cropping visibility)., , Meghashree-CCIS, , Srinivas University

Page 140 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , These methods do not delete parts of your objects, they merely tell the SVG renderer not to, display them. This non-destructive editing makes it so that we can also release objects from, from their bounded areas as well., Clipping, The clip function in Inkscape allows an object or a group of objects to be clipped (cropped), so that only parts of the elements are visible. Clipping can be applied to any object (including, groups, layers, bitmaps, etc.), Masking, Like clip paths, masks allow an object or a group of objects to be visually cropped. The, difference is that the mask's black or transparent areas become fully transparent in the, masked object; mask's opaque white areas become fully opaque; and all intermediate colors, translate into intermediate levels of opacity in the masked object. This allows you to apply,, for example, arbitrary transparency gradients to objects., , Fill and stroke, Probably the simplest way to paint an object some color is to select an object, and click, a swatch (color field) in the palette below the canvas to paint it (change its fill color)., Alternatively, you can open the Swatches dialog from the VIEW menu (or, press Shift + Ctrl + W ), select the palette that you want to use after clicking on the little, triangle in its top right corner, select an object, and click any swatch to fill the object (change, its fill color)., More powerful is the Fill and Stroke dialog from the OBJECT menu (or, press Shift + Ctrl + F ). Select the shape below and open the Fill and Stroke dialog., , Meghashree-CCIS, , Srinivas University

Page 141 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , You will see that the dialog has three tabs: Fill, Stroke paint, and Stroke style. The Fill tab, lets you edit the fill (interior) of the selected object(s). Using the buttons just below the tab,, you can select types of fill, including no fill (the button with the X), flat color fill, as well as, linear or radial gradients. For the above shape, the flat fill button will be activated., Further below, you see a collection of color pickers, each in its own tab: RGB, CMYK, HSL,, and Wheel. Perhaps the most convenient is the Wheel picker, where you can rotate the, triangle to choose a hue on the wheel, and then select a shade of that hue within the, triangle. All color pickers contain a slider labelled “A“ to set the alpha (opacity) of the, selected color., Whenever you select an object, the color picker is updated to display its current fill and, stroke (for multiple selected objects, the dialog shows their average color). Play with these, samples or create your own:, , Using the Stroke paint tab, you can remove the stroke (outline) of the object, or assign any, color or transparency to it:, , Meghashree-CCIS, , Srinivas University

Page 142 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , The last tab, Stroke style, lets you set the width and other parameters of the stroke:, , Finally, instead of a flat color, you can use gradients for fills and/or strokes:, , When you switch from flat color to gradient, the newly created gradient uses the previous flat, color, going from opaque to transparent. Switch to the Gradient tool ( Ctrl + F1 or, just G ) to drag the gradient handles — the controls connected by lines that define the, direction and length of the gradient. When any of the gradient handles is selected (highlighted, blue), the Fill and Stroke dialog sets (and displays) the color of that handle instead of the, color of the entire selected object., Yet another convenient way to change the color of an object is by using the Dropper tool, ( F7 or D ). Just click anywhere in the drawing with that tool, and the color you clicked, on will be assigned to the selected object's fill ( Shift +click will assign the stroke, color)., Meghashree-CCIS, , Srinivas University

Page 143 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Align and Distribute, Align and distribute moves multiple selected objects to the same axis and distributes them, equally relative to a selected anchor object. The Align and Distribute dialog offers many, ways of applying these functions to object selections., , How to Use, The Align and Distribute dialog can be called by pressing Shift+Ctrl+A,, selecting Object > Align and Distribute, or clicking the icon on the Toolbar:, , Make sure your objects are selected. Depending on which object you wish to have as, the anchor and which relative to setting you have selected, order of selection will be, important., , "Relative to", Meghashree-CCIS, , Srinivas University

Page 144 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , Objects can be aligned and distributed relative to:, •, , the last or first selected, , •, , the biggest or smallest item, , •, , the page, , •, , the drawing (all objects within the document), , •, , the selection of objects, , Align, To align selected objects, click one of the align icons:, •, , Align right sides of objects to left side of anchor, , •, , Align left sides, , •, , Centre on vertical axis, , •, , Align right sides, , •, , Align left sides of objects to right side of anchor, , •, , Align baseline anchors of text vertically, , •, , Align bottoms ob objects to top of anchor, , •, , Align tops, , •, , Center on horizontal axis, , •, , Align bottoms, , •, , Align tops of objects to bottom of anchor, , •, , Align baseline anchors of texts horizontally, , Distribute, To distribute selected objects, click one of the distribute icons:, •, , Distribute left sides equidistanly, , •, , Distribute centers equidistanly horizontally, , •, , Distribute right sides equidistanly, , •, , Make horizontal gaps between objects equal, , •, , Distribute baseline anchors of text horizontally, , Meghashree-CCIS, , Srinivas University

Page 145 :
Foundation Art I, •, , Distribute tops euidistanly, , •, , Distribute centers equidistanly vertically, , •, , Distribute bottoms equidistanly, , •, , Make vertical gaps between objects equal, , •, , Distribute baseline anchors of text vertically, , •, , Randomize centers in both dimensions, , •, , Unclump objects ; try to equalize edge-to-edge distances, , B.Sc. Animation, DFM & VFX, , Remove overlaps, You can also define:, •, , Minimum horizontal gaps between objects,, , •, , Mimimum vertical gaps,, , •, , Move objects as little as possible so that their bounding boxes do not overlap, , Connector network layout, If you are using the connector tool and need to distribute the connected objects, use this, button to rearrange the selected connectors., Nodes, There are 4 buttons to organize nodes in path. Select the nodes with Node Tool and click one, of the node align buttons:, •, , Align selected nodes horizontally, , •, , Align selected nodes vertically, , •, , Distribute selected nodes horizontally, , •, , Distribute selected nodes vertically, , Meghashree-CCIS, , Srinivas University

Page 146 :
Foundation Art I, , B.Sc. Animation, DFM & VFX, , 4/5 Marks, 1. Draw an Inkscape interface and list out the different tools and elements of Inkscape?, 2. How to create, open and save a Document on Inkscape?, 3. How to Copy, Clone and Duplicate?, 4. Explain Align and Distribute Dialogue with all the elements?, 5. Write the short cut keys to open the following Dialogs., a. Fill and stroke, b. Text and Font, c. Layers, d. Object Properties, e. Path Effects, 6. How to Clipping paths and masks?, 7. Explain path modification Effects?, 8. Write the steps to make a simple two-dimensional radio icon in Inkscape?, 9. Write Note on Inkscape?, 10. Explain the use of Fill and stroke dialogue?, And Lab Programs., , Meghashree-CCIS, , Srinivas University