UNIVERSITY OF CAPE COAST

COLLEGE OF DISTANCE EDUCATION

COURSE TITLE

Drawing & Renderng I

© COLLEGE OF DISTANCE EDUCATION, UNIVERSITY OF CAPE COAST

CODE PUBLICATIONS, 2019
DRAWING AND RENDERING I
UNIT 1: INTRODUCTION TO DRAWING
Session 1: Concept and scope of drawing
Session 2: Drawing and Painting Tools
Session 3: Drawing Materials (Dry Media)
Session 4: Drawing Materials (Wet Media)
Session 5: Supports
Session 6: Preparation of grounds
UNIT 2: APPROACHES TO DRAWING
Session 1: Drawing processes (Observation and Perception)
Session 2: Drawing processes (Blocking-in, Outline and Detailed Drawing)
Session 3: Drawing processes (Rendering: Shading Techniques)
Session 4: Drawing processes (Rendering: Painting Techniques)
Session 5: Transferring
Session 6: Drawing of lines, shapes and forms
UNIT 3: PERSPECTIVE DRAWING AND DRAWING AND RENDERING OF FORMS
Unit Outline
Session 1: Concept and types of perspective Drawing
Session 2: Terms in perspective Drawing
Session 3: Parts of Picture Plain
Session 4: Drawing and Shading of Forms
Session 5: Drawing and Painting of Forms
Session 6: Principles of Composition Drawing and Composition of Forms
UNIT 4: OBJECT DRAWING, SHADING AND PAINTING
Unit Outline
Session 1: Quick sketches of literal and round artificial objects at different positions and
drawing, shading and painting of artificial objects
Session 2: Drawing, shading and painting of natural inanimate objects (Fruits, vegetables, crops
etc.)
Session 3: Drawing, shading and painting of natural inanimate objects (plants)
Session 4: Still-life Composition drawing, shading and painting of artificial objects to depict a
theme (Part One)
Session 5: Still-life Composition drawing, shading and painting of artificial objects to depict a
theme (Part Two)
Session 6: Still-life Composition drawing, shading and painting of natural objects to depict a
theme

UNIT 1: INTRODUCTION TO DRAWING

Unit Outline
Session 1: Concept and scope of drawing
Session 2: Drawing Tools
Session 3: Drawing Materials (Dry Media)
Session 4: Drawing Materials (Wet Media)
Session 5: Supports
Session 6: Preparation of grounds
Overview
Dear learner, welcome to another interesting course in the graphic design programme. As a graphic
design teacher, you are required to have basic knowledge and skills in drawing and rendering so
that you can communicate visually. Knowledge and skills in drawing and rendering will also help
you to teach the drawing component of the SHS graphic design syllabus effectively. In this unit,
we will introduce you to the basic concept and theories of object drawing and rendering. We will
explore areas such as concept, scope and uses of drawing, drawing tools and materials, drawing
processes, transferring, principles of perspective and composition and still-life drawing and
painting. The course will be delivered and studied through lectures, class discussions, field studies,
individual and group assignments, Power Point presentations, juries etc. Please relax, it is going
to be an interesting unit.
Objectives
By the end of this unit, the student will be able to:
1. explain the concept, uses and scope of drawing
2. state and describe types of drawing tools and their uses
 3. state and describe types of dry media and their uses in drawing
4. state and describe types of wet media and their uses in drawing
5. state and describe types of supports used in drawing and painting
6. describe how to prepare grounds of different types of supports for painting.

This is a blank sheet for your short notes on:

 Issues that are not clear, and
 difficult topics, if any.
SESSION 1: CONCEPT AND SCOPE OF DRAWING
Introduction
Dear learner, this session aims at introducing you to the concept and uses of drawing and its
application in society. The session will explore different definitions of drawing and gradually
guide you to define drawing from your own perspective. We will also identify and discuss
different uses of drawing in our society and finally discuss the scope of drawing. Please relax, it
is going to be an interesting session.
Objectives
By the end of this unit, the student will be able to:
1. define and explain the scope of drawing
2. discuss different uses of drawing in society
Now read on….
1.1. Concept and Scope of Drawing
Hello learner, we hope you see a lot of objects in your environment? You have also witnessed
events such as naming ceremony, hawking at road side, children playing on a field and others? If
you are supposed to report on any of these, how many ways can you present your report? I guess
you can use verbal narration or description, write down what you saw or present photographs you
took. Well, apart from these three ways, can you think of any other means you can use to report
on the events? Well, brainstorm and see if you can have an answer. Have you realized that you can
also use drawing to describe the scene or the objects?

Generally, drawing can be classified into technical drawing and sketching. Technical drawing uses
drawing instruments such as ruler, compasses, dividers, T-square, drawing board, etc. to draw
objects to precise scale, size or measurement. Technical drawing and drafting are applied in
architecture design, product design, mechanical engineering, land surveying, furniture design,
interior design, electrical engineering, etc. Sketching on the other hand, does not use drawing
instruments to draw objects to precise scale, size or measurement but uses perception, creativity
and visual measurement to draw objects. Sketching is predominantly used in Visual Arts and
Applied Arts. In this course we will focus mainly on sketching.

Now, Let use explore some definitions of drawing.

The art or technique of producing images on a surface, usually paper, by means of marks, usually
of ink, graphite, chalk, charcoal, or crayon britannica.com(2000). The encyclopedia further
defined drawing as “the primarily linear rendition of objects in the visible world, as well as
of concepts, thoughts, attitudes, emotions, and fantasies given visual form, of symbols and even
of abstract forms”.

A classic drawing is an artwork created from lines or areas of tone created with a drawing
instrument such as a graphite pencil, charcoal, colored pencil, silverpoint, eraser, dry pastel, or
another dry medium on a piece of paper. In a broader definition of the term, a drawing is a two-
dimensional artwork created from lines or tone that is dominated by a dry medium but can include
wet mediums such as ink, and washes of paint Boddy-Evans (2018) contributed on liveabout.com.
(2018).
Dear learner, a thorough analysis of the above definitions of drawing reveals some basic
characteristics of drawing as follows:
 Making marks to create images on a two-dimensional surface
 The marks are made with dry or wet media
 The images can describe an object, a process, or an event
 The drawings can depict a concept or an idea

Now can you guess of some uses of drawings? Well, we will base on our experience to identify
the following as some uses of drawing:
 To illustrate books, posters, packages, signage etc.
 To create a visual impression of a product
 To investigate crime
 To describe an event
 To design an instructional material
 To Produce pictures
 Etc.
Now, let us discuss the some of the uses into details:

Drawing is used for illustration

To achieve effectiveness in Visual communication, items search as posters, packages, banners
signboards, billboards, flyers, etc. must contain meaningful, attractive and persuasive pictures.
Sometimes drawings are used to produce illustrations that complement the text to amplify the
meaning and facilitate the understanding of the text. Also, most children’s’ books are illustrated
with cartoon characters that attract them and sustain their interest in reading the text.

Creating a visual impression of a product

In product design, most products we see on the market start as ideas which are conceived by
individuals. This abstract concept or idea are represented visually with sketches that depict visual
impression of the concept or idea. Usually, the initial graphical impressions of the idea are further
developed upon and subjected to rigorous jury by expects until a final technical drawing is made
for final product.

Investigating Crime
Criminal Investigation Division (CID) of most countries employ talented realist artists to augment
their investigative personnel. In criminal investigations, expects sometimes let eye witnesses of a
criminal event describe the scene they observed or give vivid description of the individuals that
perpetuated the act. In the process of describing the criminals, the artists use imagination to make
several sketches based on the descriptions and the narratives given and show them to the witness
for identification. The sketch(es) that resembles or closely resembles the description is used for
the investigation.
Describing a scene or Event
Peoples who have high perceptual development are able to perceive an event or scene they have
witnessed and reproduce it vividly on paper through imaginative drawing. For instance, scenes
such as a fight, an accident, etc.

Now, dear learner, you see we have tried to discuss some of the uses of drawing for you. Please
try and discuss the others we have listed with your friends and also identify other uses of drawing
and discuss.

Summary
This session defined the concept of drawing from different perspectives and distinguished between
technical drawing and sketching. It also identified some areas where technical drawing and
drafting are mostly applied as well as sketching. Finally, the session identified the characteristics
of drawing and discussed some uses of drawing.

Self-assessment Questions
Exercise 1.1

1. Explain the difference between technical drawing and sketching

2. State FOUR areas where technical drawing and drafting is mostly applied
3. state FOUR different uses of sketching

SESSION 2: DRAWING AND PAINTINGTOOLS

Introduction
Dear learner, we hope you now have basic understanding of the concept and scope of drawing?
Great! In this session, we are going to introduce you to basic tools used in sketching and
painting. The session will identify the tools and explore their characteristics and specific uses in
drawing. We assure you it will be an interesting session.
Objectives
By the end of this session, you will be able to;
1. state different types of tools used in drawing(sketching) and painting
2. describe the characteristics and specific uses of the drawing tools identified

Now read on…

Drawing and Painting Tools

Drawing tools are manual devices which are used to execute artworks, but they do not form part
of the finished work. Different types of drawing tools are used in Visual and Applied Arts. These
include the following brushes, palatte board, palatte knife, dippers, drawing boards, scraper, etc.
Now, let use explore some of the tools into detail.
Brushes

These are hand tools consisting of the following major parts- Filling, Ferrule and handle. Different
types of brushes are in used to perform specific activities in Visual Arts. Before we discuss the
types, we want to explore the various parts of brushes with you.

Filling: This is the hair part of a brush which is used to pick and apply colour during painting.
Fillings are obtained from three major sources: animal hairs, synthetic filaments and natural fibres.

Animal Hairs: Four main types are used to manufacture art brushes: Pure Bristle, Sable hair, Horse
Hair and Squirrel hair.

Pure Bristles

These are obtained from the hairs of animals like Hogs, Boars and Pigs. They are called pure
bristles because they are not mixed with other animal hairs before use. Pure bristles are available
in black and white colours. They have long length, strength, and course texture than other animal
hairs (Fulcher, Tickle, Rholes, & Steward, 1998).

Characteristics of pure bristles

 They have natural flag or slip tip which provides the brush with a very soft tip that
facilitates laying-off.
 They have minute serrations along the length of the strands which help the fillings to hold
paint and prevent excess dripping.
 They have strength and resilience.
 They have natural taper which allows the strands to lie together in a brush form.
 They are destroyed by alkaline

Uses: For manufacturing shading and flat wall brushes and suitable to be used on rough and
slightly textured surfaces such as Cement walls, Fabrics wood etc.

Sable Hairs

These are obtained from a kind of animal called sable. They are light brown in colour with finer
texture and springier than pure bristles. They are used for manufacturing shading and lettering
brushes and suitable for smooth surfaces such as Grass, Plastics, Metals, Painted and polished
wood etc.

Horse Hairs

These are obtained from the mane of Horses. They are soft in texture and have weaker strength
than bristles and sables. They are available in black and brown colours and used for manufacturing
cheap water colour brushes.

Squirrel Hairs

These are obtained from hairs of Squirrels. They are soft in texture and have weaker strength than
bristles and sables. They have shorter length than all the other animal hairs. They are available in
black and brown colours and used for manufacturing cheap water colour brushes. We will like to
emphasis that, oometimes, two or more animal hairs are combined in one brush and this
adulteration is referred to as Union.

Synthetic filament

These are man-made filings made from nylon and other filaments. Even though they are stronger
than animal hairs they have coarse texture and do not have serrations which can hold more paint.
They do not have flag or slip tip which facilitate smooth lay off of paint. They are resistant to
alkaline and do not wear out easily. They are used to manufacture cheap water colour brushes and
flat wall lime brushes.

Natural fibres

These are obtained from plant sources and are weaker and cheaper than all brush fillings. They
are used to manufacture cheap lime brushes.

Ferrule: This is the metal part of a brush. It is made of either aluminum or galvanized sheet into
which the fillings are inserted and secured with a strong water-resistant adhesive.

Handle: This is made with wood or plastic. Wooden handles are usually coated with impervious
paint or varnish to prevent them from moisture attach.
Shapes of Brush Fillings

Fillings for art brushes are available in round, pointed and chisel shapes. The round end is used for
shading brushes only while the pointed and chisel ends are used for shading and lettering brushes.

Types of Brush

Art brushes are available in three types: shading brushes, lettering brushes and flat wall brushes.

Shading Brushes: These are usually made of animal hairs and available in various sizes. They are
used to bring out the details of an artwork when shading with paint.

Lettering Brushes: These are usually made of sable hairs, hence their name sable writer. They
have long filling length and have the same sizes as shading brushes. They are used to fill-in or
paint letter strokes during lettering.

Flat Wall Brushes: These are made of pure bristles and range from 1inch to 6 inches. The bigger
sizes are used to apply primers, undercoats and finishing coats unto large substrates whiles the
smaller sizes are used to bring out details when painting large murals. Figure 1 is the illustrations
of types and parts of art brushes:

Parts of artists’ brush

Handle Ferrule Filling

Shapes of brush fillings

Chisel Tip Rounded Tip
Pointed Tip

Flat Wall Brush

Art & Lettering Brushes

Figure 1: types and parts of art brushes

Care and maintenance of brushes

In order to improve the effectiveness and durability of art brushes, painters and sign writers must
have knowledge on how to care and maintain brushes before, during and after use.

Preparing a new brush before use

All new brushes contain loose hairs (shots), dust and grease, so they must be thoroughly cleaned
before use. Follow these processes to prepare a new brush before you use it:

 Twirl or rub the filling in your palm vigorously to remove all loose hairs.
 Wash the filling with soap and water to remove all dust and grease contamination
 Rinse the filling with ordinary water.
 Dry thoroughly and use.

Cleaning brushes after use

 Wash off the colour with the appropriate thinner (water for water-based colours and
Turpentine for spirit-based colours).
 Wash with soap and water.
 Rinse with ordinary water, dry and store.

Note: Do not hit the tip of the filling at the bottom of the can during cleaning. This will cause the
tip to split up. Also, do not suspend used brushes in ‘turps’ during break time. This will weaken
the adhesive setting in the ferrule. However, if suspension is inevitable, the filling should not be
made to rest at the bottom of the container. This will cause the filling to twist. The best way to
suspend brushes in use is to hang them in water to the length of the filling. However, brushes used
in oil paints can be suspended overnight by hanging in a mixture of Linseed oil and white spirit.

Storage of brushes

Before storing a brush, coat the filling with a non-drying jelly such as grease and Vaseline to
maintain the shape of the filling. Pack shading and lettering brushes into their holders and keep in
a tool kit or drawer smeared with strong powdered insecticide to prevent ants, termites and insects
from eating the filling. Flat wall brushes can be stored in a drawer or smeared with insecticide and
hanged (Fulcher, Tickle, Rholes, & Steward, 1998).
.

Palette knife

This is a long narrow metal blade with rounded end. The blade is fixed into a wooden or plastic
handle at the stock. It is used to mix paint both in thins and on palette boards. Specially prepared
palette knife is available for impasto printing.

Palette Board

This is a flat handy board with a small circular hole at one end chamfered underside where the
thumb passes upon holding the palette. The palette is usually held in the left arm. The board can
be purchased in rectangular or oval shape. The convenient size is 230mm by 160mm. It can be
purchased in polished wood or plastic. Polished plywood, acrylic sheet, glass sheet etc. can be
used to improvise. Preferably, all palette boards must be non-absorbent. It is used to hold dippers
and for mixing small shades of colours when painting.

Dippers

These are small cylindrical containers made of non-ferrous metals. They are either held in hand or
on palette boards. They must be light in weight so that they can be handled easily. They are used
to hold colors when painting.

Drawing Board

This is a flat rectangular wooden board mounted on two wooden stands at the base. Ideally, the
stands must slope at an angle that falls within 100-200 towards the down part of the board. It must
be made of a durable wood with smooth and leveled surface with the left edge perfectly cut to an
angle of 900. Preferably, the board must be of a reasonable size so that it can be used for both small
and large works. It is used to hold paper, fabric and sizeable wooden and metal supports during
drawing or painting. Note: The top of the board can be laminated with Formica, Vinyl or covered
with Cardboard sheet.

Clips or drawing pins

These are used to secure paper supports firmly unto a drawing board when drawing or painting.
Measuring Tape

A thin metal sheet (Tape) rolled into a plastic or metal case. The tape is designed with all the
measuring units (calibrations) at one face. Usually, the units are in centimetres, inches, feets and
metres. The full length of a tape measure varies from 5 metres, 10 metres and 15 metres. It is used
to take long measurement when doing large mural paintings, mural sign, designing bill boards etc.

Scrapper

A preparatory device, which consists of a stiff tin metal blade fixed into a wooden or plastic handle.
It is used to remove loose flaking paint films from painted surfaces, mortar splashes from cement
surfaces, and corrosion from metal surfaces during ground preparation. The blade must always be
kept sharp.

Filling Knife

A Preparatory device, which consists of a stiff tin metal blade fixed into a wooden or plastic handle.
The blade is made flexible at the stock which makes it easy for the blade to spring. It is used to
pick and apply polyfiller and putty into holes, cracks and indentations on surfaces when preparing
grounds for painting.

Summary

This session explored the characteristics and uses of different hand tools used in drawing. It
discussed types of brushes, their characteristics and specific uses and also discussed other tools
used in drawing and painting.

Self-assessment Questions
Exercise 1.2
1. define a tool in the context of Visual Art
2. State the THREE major parts of brushes and describe each
3. State ONE specific use of each of the following brushes:
a) Flat wall brush
b) Art brush
SESSION 3: DRAWING MATERIALS (DRY MEDIA)
Introduction
Dear learner, this session will further explore materials used in drawing and painting. It will
identify some of them and discuss their characteristics and specific uses.
Objectives
By the end of this session, you will be able to;
1. explain the concept of dry media used in drawing
2. describe the characteristics and specific uses of different types of media dry media used
in drarwing
Now let’s read…
Drawing and Painting Media

In the context of drawing, mediums are materials that are used to mark or paint a surface to create
a picture or an impression. In other words, these materials bring out the actual impression and they
form part of the finished work. There are two main classifications of drawing media: Dry media
and Wet media. In this session we shall focus on only dry media.

Dry Media

These are hard drawing media that are pressed or dragged directly onto the surface of the ground
in the desired direction to create marks that form a visual image. Examples are pencils, crayons,
pastel, charcoal sticks etc.

Pencils

Pencils consists of a holder and lead. The holder is the case in which the lead is loaded or fixed
whiles the lead is the media that is used to make the marks on a surface.

Type of pencil leads: There are two main types of leads use to manufacture pencils:

 Soft Leads: These are usually made of ebony and carbon. They are thicker and darker than
hard leads. Soft leads are graded with letter ‘B’ and range from 2B, 3B, to 9B. The higher
 the number, the darker, softer and thicker the lead becomes. Soft leads are best used for
freehand sketching and shading.
 Hard Leads: These are lighter, harder and thinner than soft leads. They are graded with
letter ‘H’ which range from H, 2H, 3H to 9H. The higher the number the lighter and harder
the lead becomes. Hard pencils are suitable for technical drafting and letter construction.
Sometimes, soft and hard leads are combined to produce a medium grade pencil graded
‘HB’ which is ideal for sketching and lettering.

Crayons

These are wax-liked pastels made of molten wax mixed with powdered colour and shaped like
chalk sticks. They are available in a variety of colours such as brown, black, white, red, yellow,
etc. Crayons are used for stretching and shading on paper supports and other matt surfaces.
Crayons are less permanent therefore; their drawings are usually made permanently by spraying
over with a fixative such as varnish or lacquer.

Chalks

Chalks are common materials used by teachers to write on the chalkboards. They are manufactured
in industry with natural pigments compressed with a binder and shaped like sticks. They are made
in variety of colours such as white, yellow, brown, blue, green etc. and are available in soft or hard,
course or fine textures. They are used to sketch and transfer drawings/designs from paper unto
prepared grounds.

Pastels

These are soft crayons used for drawing and painting. Pastels contain binders but are more brittle
and chalkier than crayons. They are available in a variety of colours. Because of their softness,
they can easily be blended to create smooth gradated tones. Pastel drawings can be reinforced by
spraying over with a spirit fixative. Also, oil pastel drawings can be coated with turpentine to fuse
and melt the colour into the ground upon drying.

Charcoal Sticks

These are the most common drawing materials. They are obtained from burnt firewood mostly
from the kitchen or burnt farm. They can be obtained in small pieces or long sticks in soft and hard
textures depending on the type of wood used and the rate at which it was burnt. Charcoal sticks
work very well on unglazed surfaces such as cement, wood, fabric, paper etc. Usually, soft charcoal
sticks tend to crumble when used for drawing but hard charcoal sticks work better than soft
charcoals sticks.

Charcoal sticks are used for setting out drawings directly unto grounds before painting or shading.
They can also be used as substitutes for chalk during transferring. Charcoal marks are not
permanent so they must be sprayed over with a fixative to preserve them.

Summary

The session explained the concept and scope of dry media used in drawing and painting. It
discussed different types of dry media, their characteristics and specific uses.

Self-assessment Questions
Exercise 1.3
1. State the TWO classifications of media used in drawing and painting and explain the
difference between them
2. State FOUR types of dry media used in drawing

SESSION 4: DRAWING MATERIALS (WET MEDIA)

Introduction

Dear learner, in this session we ae going to explore the drawing and painting media further.
However, the discussion will be focused on wet media.

Objectives

By the end of this session, you will be able to;

1. state types the constituents of paints

2. describe the characteristics and functions of each constituent of paint
3. state types of wet media used in drawing and painting
4. describe the characteristics and uses of types of wet media used in drawing and painting.

Now let read…

Wet Media

In the context of drawing and painting, wet media are liquids or semi-liquidized materials used in
conjunction with brushes or pens to paint or colour an artwork. They are classified into five main
groups: Paints, pens, inks, dyes and fixatives.

Pens

These are available in different kinds and are used for different purposes e.g., fountain pens, dip
or calligraphy pens, technical pens, ball pens, felt pens, markers with different tips and others.
Pens are either filled with inks or dipped into inks. They are disposable or refillable. They are used
for drafting, sketching, tracing and drawing. They are also used to write certificates, posters, festive
cards and for shading drawings. Pens work very well on paper supports.

Paints

Most paints are composed of the following ingredients:

 Pigment
 Binder
 Drier
 Thinner

Pigment

This is the powdered or solid substance in paints. They are available in organic and inorganic
types. The organic pigments are derived from plants, animals, vegetable and mineral sources such
as crude petroleum, and coal –tar oils and may be recent in the form of bones, fatty oils, grease, or
fossils as in chalks. Inorganic pigments are obtained from three main sources:

 Coloured earths which are mixed and grounded into fine powder. Examples are umbers,
ochres, siennas etc.
 Metals chemically treated to render them into fine powders. Examples include white lead,
titanium white, iron oxides etc.
  Combination of heat-treated chemical compounds. These include Prussian blue, zinc
chromate, lithopone and others.

Characteristics of pigments

 They have colour

 They are opaque or transparent
 They have structure- amorphous or crystal
 They have texture- fine or coarse
 They are toxic or non-toxic

Functions of pigments

 Provide opacity to paints

 Provide colour to paints
 Provide bulk or thickness to paints
 Help the binder to protect surface

Binder: This is also called medium, vehicle or film-former. It is the oily substance in paints. They
are obtained from two sources:

 Oils: These are extracted from plant seeds, nuts and others. Examples are linseed oil, tung
oil, oiticica oil and others.
 Resins: There are two types:

1. Natural resins: These are obtained from trees and may either occur as:

 Recent: These are tapped or extracted from living trees in the same way as rubber.
 Fossils: These are natural oxidations of tree juice (resin) buried in the ground for ages and
parent tree having rotted away or disappeared. Examples include shellac, mastic, copal etc.

2. Synthetic resins: These are the combination of resins and oils that are modified through high
chemical and scientific processes. Synthetic resins are produced with improved qualities such as
good adhesion, chemical abrasion and water resistant. Examples include acrylic, alkyd,
polyurethane, polyvinyl acetate, epoxy and others.

Functions of binder
  Bind the pigment particles together
 Provide adhesion to paints
 Provide elasticity to paints
 Provide gloss to paints
 Hold the pigment particles in suspension
 Help the pigment to protect the paint system

Driers: These are catalyst substances added to paints to convert the vehicle to a hard substance or
hasten up the drying process of the paint. Examples of driers are metallic compounds such as lead,
cobalt, manganese dissolved in white spirit.

Thinners: These are solvents added to paints to break their consistency (thickness) to a workable
consistency. Examples of thinners are:

 Turpentine: It is used to dilute spirit-based paints such as oil paint, enamel and gloss
paints. It is also used to thin down varnishes.
 White spirit: Used to thin polish and lacquers.
 Water: It is used to dilute water-based paints such as water colour, poster colour, acrylic
paints, emulsion paints and others.
 Cellulose thinner: A highly volatile thinner used to dilute cellulose paints.

Properties of a good thinner

 It must be colourless and should not discolour the paint.

 It must be free of residue such as dirt and other impurities.
 It must remain long enough in the wet paint to allow for easy application and manipulation.
 It must not be too volatile to soften the base coating. Example, cellulose thinner must not
be used as substitute for turpentine and white spirit since it can clot the paint.

Other ingredients such as extenders, plasticizers, anti-skinning agents and others are added to some
special paints.

Types of paint

Different types of paint are available for use in art. Let’s explore some of them:
Water colour

These are water-based paints consisting of fine coloured pigments dissolved in water. They are
transparent when dry and have poor adhesion because they do not contain binder. To improve their
adhesion, glue size must be added before application. They are best applied with soft brushes.
Water colours are supplied in two main forms: Dry and solid cubes: These are in the form of
cakes (tablets) arranged in small dishes on flat metal containers. Paste: These are found in tubes
and bottles.

The cake types are softened with water and brush and the paste type is fetched or squeezed unto a
palette and mixed with water and brush before application. Water colours must be mixed to a light
consistency so that they can be applied liberally during ‘washing’. When applying water colour,
always use one brush for one colour unless only one brush is being used, then clean it as you
change from one colour to another. Water colours work well on paper supports such as sugar or
water colour paper and their coatings must be sprayed upon with a spirit-based fixative such as
lacquer, vanish, polish etc. to brighten it or make it permanent. They are used to wash sketches,
landscape scenes, architectural drawings and others.

Tempera colours

These are opaque water-based paints consisting of fine coloured pigments dissolve in water. They
are available in powder and liquid forms. The powder type is mixed with clear water before use.
Tempera colours have week adhesion because they do not contain binder. To improve their
adhesion, glue size must be added before application. Also, any spirit-based fixative can be sprayed
over it upon drying. Tempera colours must not be applied in thick consistency else the brush will
drag the paint and create brush marks which can cause the film to crack and peel off upon drying.
Preferably, they must be thinned to a medium consistency before use. They are used for the same
purpose as water colour paint.

Poster colours

These are opaque water-based paints consisting of fine coloured pigments, binder and drier. They
are produced as paste and stored in small bottles. They are more pigmented than water colours and
tempera colours and so they do not necessarily require addition of glue size before use, however,
the artist can add a little to improve its adhesion and perminance. The colours are fetched from the
bottles with a small plastic or stick unto a palette and mixed with water and brush. They must be
mixed to a medium consistency before use. However, when they are applied too thick the colour
will drag the brush and create brush marks. They are used for all kinds of paintings and Graphic
communication design works. They are most suitable for indoor works.To improve the durability
of poster colour paintings, the film can be sprayed over with any spirit-based fixative after drying.

Acrylic colours

These are opaque water-based paints that contain synthetic resin(s) as their binder. They also
contain fine coloured pigment and drier. They dry very fast, have good opacity, elasticity, flow,
adhesion and abrasion and water resistant. They are supplied as paints in small and big containers.
They are also available in paste form filled into tubes. Their drying rates can be retarded by adding
a little linseed oil. This is normally done when using them for large realistic mural paintings. They
are suitable for all kinds of paintings and all Graphic communication design works. They are also
used to prime fabric, wood and cement walls etc. Acrylic paintings can be sprayed over with vanish
or lacquer upon drying to improve its brightness and durability.

Gouache

This is a kind of opaque water colour that contains inert pigment. (Pigments that becomes
colourless in paint.) They are also called body colour. Gouache colours have course pigment than
transparent water colours. They can be used to achieve transparent and translucent coatings on a
surface. They are used to wash and paint drawings. Gouache paintings should be sprayed over with
a spirit fixative upon drying to improve it permanence.

Emulsion Paints

These are opaque water-based paints consisting of pigment, binder and drier. They are available
in variety of pale colours and supplied in plastic containers. They have thick consistency which
needs thinning with water before use. They have good adhesion than poster colours and less
adhesive than acrylic colours. They are used to prime wooden, plaster and fabric supports. Where
a plaster surface is to be furnished in oil painting, emulsion paint is not appropriates because it
cannot resist the alkalinity of the cement. The recommended primer for such situations is alkaline
resisting primer or acrylic primer since they have the ability to seal the substrate against the
alkaline in the cement.
Enamel Paints

These are opaque spirit-based paints consisting of vegetable oil (linseed), fine pigment and drier.
They are produced in variety of colours and stored in small metal containers. They have good
opacity, flexibility, flow, gloss, water and abrasion resistant. They are supplied in thick consistency
and must be thinned with turpentine to a medium consistency before use.

Enamel paints are attacked by alkaline and must not be applied directly on bare or unsealed
cement-based substrates such as walls, concrete and asbestos cement sheeting so as to prevent the
paint film from being saponified. (Saponification occurs when the alkaline in the substrate is
activated by moisture to attack the linseed oil in the film chemically and convert it to a brownish
soft sticky soapy run on the film). They are used as a finishing coat when preparing the grounds
of supports such as plaster, wood, metal, plastic, glass etc. They are also used to execute mural
paintings and mural signs. They are ideal paints for all kinds of outdoor painting works.

Inks

These are fine pigmented liquidized colours filled into small bottles or plastic containers. They are
available in two types: water proof and water-soluble inks. An example of water-soluble ink is
Rotring ink. Inks are used as fillers for pens which are used for drafting, sketching and shading.
They can also be applied with brush to colour artworks or use in conjunction with water colour
washes to shade a sketch. Inks work very well on paper, calabash, wooden support etc.

Fixatives

These are wet transparent media added to frail paints to improve their adhesion or sprayed unto
dried paintings to improve their permanence, durability glossiness and render them water proof
and abrasion resistance. Table 1 is examples of types of fixatives and their uses:

Figure 1: Examples of fixatives and their uses

Fixative Thinner uses

Glue size Water Added to water colour, tempera colours and poster colours
before use.
 Vanish White Spirit Sprayed over water and spirit-based paint films when hard dry. It
is also sprayed onto chalk, charcoal, crayon and pastel drawings.
Polish White Spirit Sprayed over water and spirit-based paint films when hard dry. It
is also sprayed onto chalk, charcoal, crayon and pastel drawings.
Lacquer White Spirit Sprayed over water and spirit based paint films when hard dry. It
is also sprayed onto chalk, charcoal, crayon and pastel drawings.

It must be emphasized that, lacquer and polish are liable to soften and crack enamel or oil paint
films when applied excessively with brush. The best method of application is by spraying in a
single coat. Ideally, the paint film should be completely dry before applying the lacquer.

Summary

This session explained the concept of wet media used in drawing and painting. It highlighted on
the constituents of paints and their specific functions in paints and also discussed the uses of
different types of wet media used in drawing and painting.

Self-assessment Questions
Exercise 1.4
1. State the constituents of paint
2. state FOUR functions of pigment in paints
3. State FOUR functions of binder in paints

SESSION 5: SUPPORTS
Introduction
Dear learner, this session aims at introducing you to different types of substrates on which
drawings and painting are done. We will discuss their characteristics and specific uses in
drawing and painting. We assure you that this will also be an interesting topic.
Objectives
By the end of this session, you will be able to;
1. state different types of supports used to produce pictures
2. describe the characteristics and uses of the supports in picture making
Now read on…
Supports
Supports are the materials or surfaces on which artworks are made. Examples of supports are
papers, woods, walls, metals, plastics, glass, fabrics, leathers, clay, rocks, calabash, gourds, human
skin, etc. Before an artwork is executed successfully on any kind of support, the substrates must
be thoroughly prepared to obtain a good ground and the kind of preparation given to the ground
depends on the type and nature of the surface. Grounding may involve abrading, filling, sizing,
sealing, priming, washing, degreasing, undercoating, finishing etc. Ground therefore refers to the
prepared surface of a support on which artwork is to be executed. Below are some supports used
in picture making and their characteristics:

Wood

Wood is a fibrous absorbent material. Different types of wood are produced in various forms which
are used as a support. Examples are lumber, plywood, compressed boards and veneer. Lumbers
are often constructed to form large boards and used as support for murals. Thick plywood and
compressed boards are also used as support for small paintings, murals and signs. Wooden
supports can be used for indoor and outdoor works but they are often durable for indoor works.
Because they can be weakened by continuous rain and sunshine.

Cement wall or plaster

These include construction materials such as asbestos sheet because it is also made of cement.
They absorbent and active in alkaline because the cement is produced from a limestone which has
high alkaline content. They are often used as supports for mural and signage production. The
grounds of cement substrates must be well prepared with appropriate tools, materials and methods
before paintings are executed on them so that the painting can last long.

Metals

Two main types of metals are used as support: Ferrous and Non-ferrous metals. Examples of
ferrous metals are iron, steel, etc. and examples of non-ferrous metals are aluminum, zinc,
galvanized steel, lead, brass etc. They are produced in light plates either plain or corrugated and
are used as support for small paintings or murals and signs. Metal grounds must be well prepared
with appropriate tools, materials and methods before paints are executed on them. Metals are best
painted with spirit-based paints. However, the use of water base-paints will cause them to rust,
especially ferrous metal.
Plastic sheets

These are available in opaque, translucent and transparent types and supplied in variety of
thickness and colours. There are two basic types of plastic sheets: thermoplastics and thermosetting
plastics. The thermoplastic softens upon heating whiles the thermosetting hardens upon heating.
They are non-absorbent and have smooth surface. Plastic sheets are used as a support for paintings
and signs. However, due to their smoothness of the substrate, they must be painted with tenacious
gloss paints so as to secure good adhesion for the paint system.

Glass

This is mainly composed of silica, lime soda, and potash. They are transparent or translucent,
smooth or textured, non-brittle and non-adsorbent, however they can crack due to improper
handling. The glossiness of the surface provides weak adhesion for paints therefore they bust be
painted with tenacious oil-based paints to prolong the life of the painting. They are mostly used as
supports for paintings and signs.

Fabrics

Different kinds of fabrics are used as supports for painting and signage works. They are stretched
as canvas for painting and also used to make banners, flags etc. Examples of such fabrics include
Cotton, Polyester, Nylon, Dacron etc. Fabrics are fibrous materials. They are highly absorbent and
have piles on the surface which provide a key for adhesion of colour.

Papers

Paper is a thin sheet of compressed vegetable cellulose fibres. They are classified as: Light papers
and heavy papers.

Light papers: These are thin sheets of papers that are lighter in weight. E.g., Bank, bond,
newsprint, cartridge papers etc. light papers are mostly used for writing, drawing and printing.
They are available in different colours and either coated or uncoated. Coated papers are non-
absorbent and glossy whiles uncoated papers are absorbent and have varying rough texture.

Heavy papers: These are also called boards or cards. They are opaque, thick and vary in
flexibility. They are coated or uncoated, textured or untextured and patterned or patterned. They
are produced in varying grammage. Some examples are Manila, Vanguard, strawboard, chipboard,
graybeard etc. They are used as supports for paintings and drawings and also used to mount and
frame paintings and drawings.

Sizes of papers

Papers are usually sold in reams of standard sizes of sheets such as A0, A1, A2, A3, A4, A5 etc.
The quantity of individual sheets packed into one ream is based on the following:

 Ream of handmade paper contains 472 sheets

 Ream of paper for industrial and electronic printing of book/documents/posters etc.
500sheets

Note: The size of the paper reduces by half as the numeral increase. Therefore, in the examples
given above the largest size is an A0 while the smallest size is A5.

Dear learner, we have tried to provide some basic information about some of the support used in
drawing and painting. Please, form study groups with your course mates and discuss the
characteristics and specific uses of other supports used in drawing and painting. Example, leather,
calabash, human body, tree backs, rocks etc.

Summary
This session discussed the characteristics and specific uses of some supports used in picture
making. These included wood, plaster, metals, plastics, fabrics and paper.
Self-assessment Questions
Exercise 1.5
1. State TWO characteristics of each of the following supports used in picture making:
a) Metal
b) Cement plaster
c) Wood
d) Plastic
2. State ONE specific use of each of the following supports in picture making
a) Fabric
b) Glass
c) Paper
d) Cement plaster
e) Session 6: Preparation of grounds
SESSION 6: PREPARATION OF GROUNDS
Introduction
Dear learner, now that we have introduced you to some supports used in picture making, we
want to treat the topic further in this session by discussing the technology of preparing the
grounds of such support before a painting is executed on it. So please relax, it is going to be an
interesting discussion.
Objectives
By the end of this session, you will be able to;
1. state the tools and materials used to prepare grounds of different supports used in picture
making
2. describe in correct sequence the processes involved in preparing grounds of different
types of support for drawing and painting.
Now read on…
How to Prepare ground of wood (Lumber and plywood)

 Rub down across the grains with medium grade sand paper and dust off.
 Rub down again along the grains with fine grade sand paper and dust off.
 Apply one thin coat of emulsion or acrylic paint as primer with brush and allow it to dry.
The primer must be thinned to a ‘sharp’ (Light) consistency before use. The importance of
the primer is to fill the pores on the surface to satisfy suction and provide a good ground
for the adhesion of the subsequent coatings.
 Fill all holes on the surface with polyfiller and filling knife and allow it to dry.
 Cut down (rub down slightly) with fine sand paper and dust off.
 Apply an undercoat and allow it to dry.
 Cut down and dust off.
 Apply finishing coat (Goodier, 1990).

How to Prepare ground of cement surfaces (walls, asbestos and concrete)

 Remove mortar splashes with scrapper if present.

 Rub down slightly with smooth sand paper and dust off.
 For oil paint finishing, apply two thin coats of alkaline resisting primer or acrylic paint as
primer and allow it to dry. These primers have the ability to hold back the alkaline in the
cement and prevent it from attacking the linseed oil in the enamel paint and cause it to
 ‘saponify’. Saponification is a defect in painting in which alkaline reacts chemically with
linseed oil in paints and convert the binder to brownish soft sticky soapy running substance
on the surface of the painting. The alkaline in the wall become activated when the wall or
plaster is active in moisture.
 Fill small cracks or indentations with Polyfilla if present.
 Cut down slightly with fine grade sand paper and dust off.
 Apply undercoat.
 Apply finishing coat.

Note: If the painting or sign would be finished in emulsion or acrylic paints, a coat of emulsion or
acrylic paint must be applied as primer. (Goodier, J. A. (1990).

How to Prepare ground of metal supports

 Degrease the surface by washing with white spirit.
 Wet abrade with smooth water proof abrasive paper using white spirit as lubricant and wipe
off with white spirit and clean rag.
 Fill the surface imperfections with two-pack metal filler (filler and hardener) and allow it
to dry.
 Cut off the filler to obtain an even leveled surface by dry filing or grinding and dust off.
 Cut down with fine water proof abrasive paper (Emery cloth) either wet or dry.
 Putty the filled areas and allow it to dry.
 Cut down slightly with smooth water proof abrasive paper.
 Prime immediately with zinc rich or zinc chromate metal primer and allow it to dry.
 Apply undercoat and allow it to drying.
 Apply finishing coat.

How to Prepare grounds of plastic support

 Degrease the surface by washing with detergent solution (soapy water).
 Rinse the surface with clean water and allow it to dry.
 Apply a coat of full gloss ename or oil paint direct unto the surface as primer and allow it
to dry.
 Apply finishing coat.
How to Prepare ground of glass support
 Degrease the surface by washing with white spirit.
 Rinse the surface with detergent solution and warm water.
 Double rinse the surface with clean water and allow it to dry.
 Apply undercoat.
 Apply finishing coat.

Alternative, the degreased surface can be slightly roughened by etching with weak hydrofluoric
acid to provide toothing or key before painting.

How to paint letters or drawings on glass

 Set out the copy in right reading on drawing sheet or tracing paper.
 Draw through the design at the back of the sheet with pencil.
 Place the back of the design on the glass in reverse and fix it with adhesive tape.
 Paint the design at the other side of the glass with acrylic or oil paint and sable brush to the
required finish and allow it to dry.
 Paint over the painted side with two coats of gloss oil or enamel paint so that the design
would be sandwiched in between the glass and the paint.

How to Prepare ground of fabrics for Painting

 Remove all dirt from the fabric.

 Apply a coat of weak (well diluted) glue size (White Glue) and allow it to dry thoroughly.
Sizing will seal the pores on the fabric partially to satisfy the suction of the thinner by the
superimposed coatings.
 Apply a coat of acrylic or emotion paint as primer to complete the ground for painting.
 For enamel painting, apply a thin coat of enamel paint after the primer.

Note: Enamel paint should not be applied direct onto fabrics without sizing or priming since the
oxidizing effect of the linseed oil will harden or shorten the fibre which will eventually cause the
fabric to become brittle.
Summary

The session described the sequential processes involved in preparing grounds of different supports
for painting or drawing. Specific processes such as rubbing-down, cutting down, washing down,
filling, degreasing, priming, sizing, sealing, undercoating and finishing were discussed.

Self-assessment Questions
Exercise 1.6
1. Explain the term saponification in relation to ground preparation

2. Explain each of the following preparatory processes used in ground preparation:

a) Sizing
b) Priming
c) Degreasing
d) Cutting down
e) Washing down
f) Filling

UNIT 2: APPROACHES TO DRAWING

Unit Outline
Session 1: Drawing processes (Observation and Perception)
Session 2: Drawing processes (Blocking-in, Outline and Detailed Drawing)
Session 3: Drawing processes (Rendering: Shading Techniques)
Session 4: Drawing processes (Rendering: Painting Techniques)
Session 5: Transferring
Session 6: Drawing of lines, shapes and forms
Overview
Dear learner, we hope by now to have gained mush knowledge in in the concept of drawing and
painting, tools, materials and supports used in drawing and painting and how grounds of different
supports are prepared to receive drawings and paintings. Great! In this unit, we are going to
introduce you to basic processes involved in drawing and painting. The discussion and practical
activities will be focused on drawing processes such as observation, perception, blocking-in,
outline or contour drawing, detail drawing and rendering. We will also introduce you to the concept
of transferring and its application in Visual Art and techniques of sketching lines, shapes and
forms. Please, relax it is going to be an interesting unit.
Objectives
By the end of this unit, you will be able to;
1. discuss and demonstrate the drawing processes
2. discuss demonstrate transferring
3. sketch lines, shapes and forms

SESSION 1: DRAWING PROCESSES (OBSERVATION AND PERCEPTION)

Introduction
Dear learner, having explored drawing tools, media and supports, we are going to introduce you
to the processes of drawing an object. However, in this session, we will start with the first two
and continue to explore the others in subsequent sessions.
Objectives
By the end of this session, you will be able to;
1. explain the concept of observation in the drawing process
2. explain the concept of perception in the drawing process
Now read on…
Drawing Processes

The major activities (Stages) involved in the drawing process are:

 Observation
 Perception
 Blocking –in
 Outline and detail drawing
 Molding or Rendering

Observation

This is the first stage of the drawing process which involves the use of the human senses to study,
examine or analysis an object or scene critically to identify its basic physical qualities (Visual
elements). Examples of such qualities studied during observation are lines, shapes, textures,
patterns, colours, size, angles, forms, display of light etc. Observation is a very important visual
and mental activity in the drawing process because it helps the artist to scrutinize all the detail
features of the object or scene. The major human senses used for observation are:

Eyes: This is also called the visual sense. It is used to identify qualities such as lines, shapes,
colours, textures, patterns, angles, sizes, etc.

Nose: This is the sense of smelling. It is used to smell an object to know whether it smells good or
bad.

Tongue: This is the sense of tasting. It is used to taste an object to know whether it is sweet or
bitter.

Ear: This is the sense of hearing. It is also called the auditory sense. It is used to listen to sound
to identify quantities such as rhythm, discord, harmony, etc.

Skin and Hand: These are the sense of touching or feeling. They are used to touch objects to feel
their texture and temperature.

Muscles: This is the sense of lifting or weighing. It is also called the kinesthetic sense. It is used
to lift an object to know its weight.

During observation, sometimes only one of the senses or more is used simultaneously and many
of the qualities or features of the object or scene is observed simultaneously depending on the
object being observed. Example, in observing a half-ripped Pawpaw sliced in cross-section; it
would be observed that, the outer peeing has various tones of green colours. The peeling also has
smooth texture and thin curved lines radiating from the top to the bottom of the Pawpaw. It can
also be observed that, the cross-section area and the inside of the Pawpaw have different tones of
orange and cream colours with the seeds appearing like black dots, etc. (Amenuke, Dogbe, Asare,
Ayiku, & Baffoe,1999).

Assignment

Using the above illustration as example, make a thorough observation of any natural object(s) in
your locality. E.g., fruits, plants, crops, flowers, animals, etc. and enter your findings in the format
provided in figure 2.1.
Figure 2.1: Observation recording table

Element Observation on object

Size
Shapes
Colours
Lines
Textures
Angles
Etc.

Perception

This is the act of recording information gathered about an object or scene during continuous
observation into the eyes which is subsequently registered on the brain so that it can easily be
retrieved at any time when needed. It is this stage of perceptual development that facilitates one’s
ability to draw. This presupposes that, ability to draw or not is determined by one’s ability to
observe and perceive the physical qualities of the object(s) being drawn, but not as preserve for
only those who have the talent to draw. Even such people must practice continuously to develop
their talent. Also, people who have not taught of drawing before since infancy can still draw
perfectly if they develop the interest and desire to learn. It must be emphasized that, through
continuous practice, self-discipline and diligence, every person with average intelligence can
develop the ability to draw effectively and develop it further to mastery.

Summary

The session discussed the first two activities in the drawing process; observation and perception.
It highlighted on the human senses used in observation and specific things each of the senses is
used to study. The session also pointed out the fact that if the observation is done very well, the
facts gathered will be mentally(perceived) recorded and retrieved when drawing.
Self-assessment Questions
Exercise 2.1
1. Define observation as used in drawing
2. State ONE specific element each of the following human senses is used to observe:
a) Eye
b) Hand
c) Muscle

SESSION 2: DRAWING PROCESSES (BLOCKING-IN, OUTLINE AND DETAILED

DRAWING)
Introduction
Dear learner, this session is a continuation of the drawing process. In this session, we will
explore the 3rd, 4th and 5th activities in the drawing process. The discussions will focus on
techniques of blocking-in, outline and detailed drawings.
Objectives
By the end of this session, you will be able to;
1. explain the concept of blocking-in in the drawing process
2. explain the concept of outline drawing in the drawing process
3. explain the concept of detail in the drawing process
Now read on…
Blocking-in

This is the first physical activity in the drawing process. It involves using the basic shape(s)
identified in the object(s) as a guide to make thumbnail sketches of the object(s). The process
usually gives a rough idea of how the shape, style, form or size etc. of the actual drawing would
be. At this stage the artist plans the drawing by positioning the objects at their correct places on
the surface or in the composition, the angle of placement of the object(s), the relative proportions
in the objects, balancing the object(s) on the surface and others. Below are some basic geometric
shapes and forms that can be used to block-in objects:

 Circle or sphere - Orange, Water melon, etc.

 Ellipse or oval - Pawpaw, Eggs, Human head, etc.
 Cylinder - Milk thin, Milo tin, etc.
  Cones - Buckets, Drinking glasses, Cups, etc.

Outline and Detailed Drawing

Outline drawing is also referred to as line or contour drawing. It is the second stage of the actual
drawing process. At this stage, the actual shape and size of the blocked-in object is depicted with
sharp and thick outlines. After that all the remaining details on the objects such as texture, patterns,
lines, dots, grains, veins etc. are carefully drawn with the appropriate lines to bring out the actual
features of the object. Figure 2.2.1 are illustrations depicting the drawing process discussed in this
session:

Blocking-in with a Outline/contour Detailed drawing

hexagonal pyramid drawing
The drawing process

Figure 2.2: illustrations depicting three drawing process

Summary

The session discussed blocking-in, outline and detailed drawing activities in the drawing process.
It highlighted that, blocking-in involves using a geometric shape(s) or form(s) identified in the
object during the observation process to plan the drawing through thumbnail sketches. After a
successful blocking-in, the plan is further developed with fine outlines to bring out the actual shape
and form of the object and then all other detailed lines, textures and folds are drawn. It further
emphasized that, all the activities in the drawing process can sometimes take place simultaneously
or overlap.

Self-assessment Questions
Exercise 2.2
1. Define each of the following drawing processes
a) Blocking-in
b) Outline or contour drawing
c) Detailed drawing
2. State ONE geometric form that can be used to block-in each of the following natural objects:
a) Half-sliced Orange
b) Full water Mellon
c) Full Pawpaw
d) Full Carrot
e) Half-sliced Okra

SESSION 3: DRAWING PROCESSES (RENDERING: SHADING TECHNIQUES

Introduction
Dear learner, this session will climax the topic on drawing processes by exploring the last stage
or activity in the process: rendering. The session will discuss the concept of rendering and the
role ‘chiaroscuro’ plays in the rendering process. It will also discuss different types of line
shading techniques used in rendering.
Objectives
By the end of this session, you will be able to;
1. explain the concept rendering in the drawing process
2. discuss the concept and elements of chiaroscuro the drawing process
3. discuss various line shading techniques used in drawing
Now, read on…
Rendering

Rendering is the art of shading or painting a drawing. In other words, it is the art of manipulating
wet or dry media to mold or create illusion of bulk, solidity, three-dimensionality, realism and
distance in a drawing on a flat surface. (This technique of using media to create illusion of bulk
and distance and realism in an object is termed as illusionism.) (Agyarkoh, 2017).

To be able to render a drawing accurately, the principles of chiaroscuro must be applied in the
work. (Chiaroscuro is the treatment of tones and shadows in a drawing on a two-dimensional
surface to create illusion of three-dimensional effect in the object). It can also be defined as the
distribution of light on an object. The display of chiaroscuro is determined by the source and
amount of light directed or illuminated unto the object. Usually, the source of light is from right
oblique or left oblique. This light usually creates six main tones on an object. These are:

 Highlight
  Light-tone
 Middle-tone
 Dark-tone
 Shadow
 Reflected light
 Reflected colours

Highlight: This occurs at where the object receives the greatest reflection of light. It usually
appears white or off-white and noticeable on the light tone.

Light-tone: This occurs at the side of the object that faces the light directly or at the part of the
object that protrudes up. That side receives the greatest amount of light distributed on the object.
The light-tone graduates into the mid-tones.

Mid-tone: This occurs at the side of an object that receives minimum amount of light distributed
on it. It is a bit stronger than the light-tone and graduates into the dark-tones.

Dark-tone: This occurs at the side of an object that receives the least or no amount of light. It
normally occurs at the extreme end of the object which is opposite to the source of light. It is darker
than the mid-tone which graduates into it.

Shadows: This usually occurs behind the dark-tone and cast on the ground where the object is
placed. It is cast to the opposite side of the source of light and could be darker than the dark-tone.
It is usually depicted as a suggestion of the image of the object and fades into the ground at its
diminishing end.

Reflected light: This is a flash of light which occurs at the left ends of the dark-tones which take
the value of the highlights or the light-tones. It is normally noticeable on curved objects such as
cylinders, cones, spheres, orange etc.

Reflected colour: This is a reflection of the colours of the objects in a polychromatic painting on
each other. Good application of reflected colours in a painting creates colour harmony and unity
in the work. Figure 2.3.1 is an illustration indicating the visible elements of chiaroscuro used in
realistic rendering:
 Figure 2.3.1: Elements of chiaroscuro

Principle of shading

 Two dark-tones should not meet.

 Objects placed in front of another must cast a shadow on the one behind it at its dark side
to push it forward.
 The source of light to the object is determined from top right or left oblique
 The shadow must fade into the background at its diminishing end.
 The shadow must be cast to the opposite side of the source of light.
 Objects must always be shaded in relation to the background and the foreground.
 Use faint or thin marks to depict lighter tones and thick or dark marks to depict darker tones
and shadows.

Techniques of rendering

There are various techniques of rendering objects in two-dimensional arts, and these are classified
into two: Shading and Painting.

Shading: This is normally done with dry or wet media such as pens, pencils, chalks, crayons,
charcoal, etc. There are various techniques of shading, these are:

 Smudging, mass or woolly shading

 Pointillism or stippling
 Hatching
 Cross-hatching
 Broken-cross-hatching
 Random scribble
Smudging: This is also called woolly, mass or smooth shading. It involves carefully blending or
merging the edges of the various tones in the object into each other to create a smooth and
continuous gradation of shades in the tones. When doing woolly shading, dark marks are used to
create dark tones whiles faint and light marks are used to create middle and lighter tones. Smudging
is best done with soft pencils.

Pointillism: This is also called stippling or dotted shading. Pointillism is the art of using dots to
shade a drawing. To create a dark tone with pointillism, more dark dots are concentrated at that
part of the drawing whiles; light tones are created by spreading or scattering few dots in a larger
area.

Hatching: This is the art of shading with straight continuous parallel lines. The lines can be
vertical, horizontal or curved. With hatching, thick and dark lines are used to create dark tones
whiles light and faint lines are used to create lighter tones.

Cross-hatching: This is art of using two straight continuous parallel lines to shade a drawing
where by the lines are stroked to intersect or cross at an angle.

Broken-cross hatches: This involves the use of two broken straight or curved parallel strokes to
shade a drawing so that the broken lines cross each other to form an angle.

Random scribbles: This involves using strokes in a haphazard manner to shade a drawing. With
this technique, the strokes do not follow a particular pattern but are randomly applied to create the
tones. Figure 2.3.2 are examples of types of line shading techniques used in drawing:

Figure 2.3.2: Types of line shading techniques used in drawing

Summary
This session discussed the concept of rendering in the drawing process. It emphasized that,
chiaroscuro is the most important element in rendering that can be applied to achieve realism and
solidity in a drawing and discussed the characteristics of different elements of chiaroscuro as
well as line shading techniques used in rendering.

Self-assessment Questions
Exercise 2.3
1. Define rendering
2. Explain the concept of chiaroscuro in drawing
3. State FOUR-line shading techniques

SESSION 4: DRAWING PROCESSES (RENDERING: PAINTING TECHNIQUES)

Introduction
Dear learner, in session three, we discussed the concept of chiaroscuro and how it is applied in
rendering through the use pf dry media. In this session we are going to apply the same concept of
chiaroscuro through the use of wet media to render drawings. We will also explore different
types of painting techniques and their specific uses in art.
Objectives
By the end of this session, you will be able to;
1. Define painting
2. describe different painting techniques used in rendering

Now, read on…

Painting

In Visual Arts, the term painting is defined as the art of spreading or applying pigment (colour)
unto a surface. The media often used for painting are wet media as well as pastel, crayon etc. Major
painting techniques include the following:

 Blending or realistic painting

 Flat painting
 Flat-tone painting
  Impasto
 Wash
 Fresco
 Etc.

Blending or realistic painting

This is also called realistic or objective painting. Blending is the technique of painting in which
the various tones in the painting are merged into each other to form a smooth and gradual gradation
of tones. In other words, the edges of the various tones are carefully worked into each other so that
there is no clear sharp line separating the tones. The process or art of manipulating the edges of
the tones gradually into each other to create a gradation of tones from dark to light is termed as
“sfumato”. Blending is ideal for realistic paintings such as portraiture, still-life etc. Just as
smudging, blending also creates illusion of realism in a painting. The factors to consider to achieve
good blending are:

 The colour must be thinned to a medium consistency.

 The colour should be able to “stay put” (remain on the surface long enough without drying)
during blending for easy manipulation.
 Do not use quick drying paints such as cellulose paint for blending.
 Do not use volatile thinners such as cellulose thinner, white spirit etc. to thin enamel paint
when using it for blending.

The illustrations in figure 2.4.1. is an example of a realistic painting:

 Figure 2.4.1. Example of a realistic painting:

Flat painting

This is the art of painting a drawing with a flat colour. The colour can be black, brown, blue, etc.
provided it does not show blended tones. There are three basic techniques used to render flat
paintings: silhouette, flat-tone painting and outlined flat painting.

Silhouette

With this technique, the object or scene is painted in one flat colour. Silhouette can be rendered in
three different techniques: outline silhouette, block or two-dimensional silhouette and three-
dimensional silhouette.

Outline silhouette: This approach involves painting the outlines of the object with one flat colour.
Preferably, the outline must not be a hairline but given a reasonable thickness.

Block or two-dimensional silhouette: This involves painting the entire shape of the object with
one block flat colour. In other words, the image can be painted light on a dark background or vice
versa.

Three-dimensional silhouette: With this technique, the image is rendered to suggest idea of
solidity or three-dimensionality in the object. This technique can be achieved by creating a source
of light on the object which creates light and dark tones on the object. The dark tones are painted
with one flat colour whiles the light tones are not painted at all leaving the background colour to
depict the light. The illustrations in figure 2.4.2 are examples of the three different ways of
rendering silhouettes:

Silhouette

Figure 2.4.2: types of flat painting techniques

Flat-tone Painting

This technique involves painting a drawing or scene in flat colour tones either in monochrome or
polychrome. In flat-tone painting, source of light is created on the object to create various tones
such as light-tone, middle-tone, dark-tone, shadows and reflected light on the object and each of
these tones are painted with a flat colour to create a hard edge so that the distinct tones demarcate
each other at the edges without blending into each other. Flat-tone painting is commonly known
as graphical painting and it is mostly used in animated cartoon illustrations and Graphic design
illustrations. Figures 2.4.3 are examples of flat-tone paintings:

Figures 2.4.3: Example of flat-tone painting

Outline flat painting

This is a painting technique in which the object is painted in flat pure or grayed hues, and the
contours or outlines of the objects are painted with sharp black outlines. The flat colours can be a
wash or painted to obliterate the background. This technique is mostly used for animated cartoon
illustrations and illustrations for children’s books etc. Figure 2.4.4 is an example of outline flat
painting:
 Outline Flat Painting

Figure 2. 4.4: Outline flat painting

It must be noted that flat painting techniques are ideal for abstract paintings and all kinds of
Graphic communication works which will be reproduced by manual, mechanical and electronic
printing methods.

Wash

This is the technique of applying extremely thinned water colour liberally unto a surface so that
the background is exposed. The technique works very well with water colour on water colour
paper. However, acrylic and poster colours can be used as substitutes if they are thinned to a ‘sharp’
consistency. Other papers such as eggshell, onion etc. can be used. Wash is best done with soft
fillings.

Types of wash

1. Wet in wet
2. Dry in wet

Wet in wet: With this technique, the paper is first soaked with water after the sketch is completed
and the colour is applied liberally unto the surface whiles the paper is still wet.

Dry in wet: This involves applying the colour liberally unto the dry surface of the paper after the
sketch has been completed.

Wash procedure

 Stretch the paper taut on the working surface and secure it with masking tape.
 Mix the colour to a sharp consistency into a can or on a palette.
  Apply the colours liberally unto the surface by applying the light tones first. Allow it to
dry and follow up with the other tone(s).

Note:

 Do not blend the tones when applying the colours.

 Mix the tones or colours into separate cans before painting.
 Detailed shadows can be depicted with a much dark tone after applying the darker tones.

Forms of wash

1. Flat wash
2. Tonal wash

Flat wash: This involves washing the drawing with flat colours. With flat wash, the work is
finished with an outline upon drying. This method is ideal for illustrations which will be
reproduced by manual, mechanical and electronic printing methods.

Tonal washing: This involves washing two or more tones in the drawing to depicted chiaroscuro.
With this method, the tones are not blended deliberately with the brush whiles painting, but the
tones flow into each other freely in layers. This is only used for illustrations that will be reproduced
by mechanical and electronic printing.

Note: Wash works should be sprayed over with any kind of spirit fixative upon drying to improve
their permanence and durability on the surface. Please, browse on the internet to find paintings
rendered in wash technique.

Impasto

This is the technique of painting with thick paint. With impasto, the various tones are applied
thickly in the drawing at their appropriate places without blending. However, blending will create
a muddy finish. This technique is normally used by painters who mostly use pure colours with
short brush strokes. Please, browse on the internet to find paintings rendered in impasto technique.

Fresco
This is a technique of painting in which pigment is mixed with water and applied to a plaster
support. Usually, a wall or ceiling coated with plaster. There are two types of fresco:

1. Fresco Secco
2. Buon Fresco

Fresco Secco: This involves applying pigments mixed with water unto a dry plaster.

Buon Fresco: This is also called “True Fresco”. It involves applying pigments mixed with water
direct unto wet lime plaster. With Buon Fresco the pigment fuses with the plaster as the plaster
dries. Upon drying, the lime undergoes a chemical change and acts as a binder which fuse the
plaster and the wet colour together permanently. This technique of painting was developed by
ancient Greek painters and it was also used massively by renaissance painters.

Pen and wash

This is a wash painting which is finished with any pen shading technique upon drying. Shading
techniques such as cross-hatching and broken cross-hatching are mostly used in pen and wash.
Figure 2.4.5 is an example of pen and wash painting technique:

Figure 2.4.5: Example of pen and wash painting technique:

Pen and ink

This technique involves washing a drawing with water-based inks such as Rotring ink. The inked
drawing is shaded with pen upon drying by using cross-hatching, broken cross-hatching technique
etc. Note that this technique can be rendered in monochrome or polychrome because water-based
inks are available in different hues. The technique is ideal for paper supports. Figure 2.4.6 is a
sample of pen and ink technique:

2.4.6: Example of pen and ink technique

Summary
The session discussed the concept of painting and explored the characteristics of different types
of painting techniques used in painting. It discussed painting techniques such as blending, flat
painting, wash, pen and ink, impasto and fresco.
Self-assessment Questions
Exercise 2.4
1. Define painting from the context of drawing
2. State THREE flat painting techniques

SESSION 5: TRANSFERRING
Introduction
Dear learner, we hope you are now familiar with all the processes involved in drawing? Great! In
this session we are going to introduce you to another important practical topic in drawing which
is transferring. We will explore different techniques used to trace(transfer) a drawing or mage
from one surface unto another.
Objectives
By the end of this session, you will be able to;
1. define transferring
2. State electronic methods of transferring an image
3. describe four manual methods of transferring an image
Now read on…
TRANSFERRING

Transferring is the method of tracing a sketch or lettering from one surface unto another. There are
several methods of transferring a sketch, these include chalking, carboning, the use of tracing
paper, the use of light paper, scaling etc. Now, let’s discuss the techniques into details.

Chalking

This involves rubbing the back of a setting out (sketch) with a soft chalk, which has a contrasting
colour to the ground unto which the sketch is to be transferred. With chalking, the chalk can be
applied to only the letters or sketch or applied to cover the entire surface by making sure that all
the positive areas are completely chalked.

After chalking, secure the chalked side firmly unto the ground in right reading with an adhesive
tape and trace the original sketch from the face with a hard pencil of a conical tip or ball-pen,
which does not write. When tracing, make sure the sheet does not shift from its original position
and make occasional checks at the back to see whether the sketch or design is tracing properly.

After tracing, remove the design and blow off excess chalk on the ground with clean rag. When
removing traces of chalk, make sure the traced sketch does not rub off. Chalking is mostly used
on painted woods, metals, and wall surfaces. Professional sign writers, muralist and outdoor
advertisers who execute large commercial and advertising signage and murals mostly use chalking.

Carboning

This is the use of carbon sheet to transfer or trace a sketch. Carbon sheet is a thin paper in which
one side is coated with a black or blue carbon. Carbon sheets are mostly used for clerical works to
make duplicate copies of important documents such as records, receipt, etc. The Carboning process
involves placing the carbonated side of the sheet on the surface unto which the sketch is to be
transferred and securing it with adhesive tape. Place the back of the sketch unto the carbon sheet
and secure it firmly. Trace the sketch in right reading with a hard pencil or a ball-pen, which does
not write. Whiles tracing, make sure that either the sketch or the carbon sheet does not shift from
its position. Carboning is mostly used to trace small sketches due to the smaller sizes in which
carbon sheets are supplied. The method is very effective on smooth unglazed surfaces such as
papers, wood etc.

The use of Tracing Paper

The sketch can be set out on an opaque light sheet and traced unto the transparent paper by placing
the tracing paper on the face of the sketch and trace from the surface of the transparent paper with
a hard pencil. To transfer the traced sketch unto the ground, rub the back of the traced sketch with
soft pencil. Fix the penciled side unto the ground with adhesive tape or clips and trace from the
surface with hard pencil which does not write. Alternatively, the sketch can be set out directly on
the tracing paper, penciled at the back and traced as described above. Outdoor advertisers normally
use this method. Tracing paper has the same advantage and disadvantage as drawing sheets except
that it is expensive than drawing sheet.

The use of Drawing Sheet

Any kind of light opaque sheet can be used. This can be done by setting out the sketch directly on
the sheet. Rub it with turpentine or paraffin to render it transparent, allow it to dry, pencil the back
and trace. Alternatively, place the sketched side of the sheet on a plain glass to see through the
sketch at the back, then draw through the sketch or rub over it with soft pencil and trace.

Scaling

This is the method if reducing or enlarging a sketch or picture on a surface. A Scaled Drawing can
also be described as a drawing that shows a real object with accurate sizes reduced or enlarged by
a certain amount (Erika Mendez, 2022). Scaling involves five significant processes: Cropping,
Squaring, Scaling, Graphing and Mapping or tracing.

Cropping

This is the process of removing the unwanted parts of a picture prior to squaring. The processes
involve are that, two L- shaped cardboard sheets are cut and put on the picture and adjust or
manipulate them gradually on the picture to obtain the part needed. Hold the croppers firmly in
place and mark out the cropped part with pen or pencil. The cropped part can now be squared to
the required size by using the cropped borders as guidelines. To avoid defacement of the
photograph or picture, the picture can be covered with tracing paper before cropping and squaring.
Squaring

This is also referred to as ‘gridding’ it involves dividing the length and breadth of the cropped
picture to a number of equal sizes. Using a soft pencil, rule parallel vertical and horizontal lines
from the division points to form small units of squares or grids on the cropped picture. Ideally, the
squares must be smaller in size to guarantee accurate tracing. After squaring, label the vertical and
horizontal grids with numbers and letters respectfully.

Scaling

This involves transferring the squares on the picture unto the actual ground on which the transfer
is intended by either increasing or reducing the size of the grids to the required scale. Example, 1:
0.5 or 1: 2, 1: 3, etc. Use faint construction lines to mark out or rule the grid lines and label as
described above.

Graphing

After labeling, use the numbers and the letters on the grids as a guide to plot the outlines of the
picture in the grids on the ground by graphing with short crossed strokes.

Mapping or Tracing

After graphing, join the dots together carefully with faint lines to bring out the shape of the picture.
Professional outdoor advertisers, sign writers and painters use scaling to reduce, enlarge and trace
cartoons (Final setting out) and photographs in sites and studio prior to painting. The illusion figure
2.5.1 describes the cropping and scaling methods:

L
A B CD E F G H I J K MN
1
2
3
4
5
6
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9
10
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Full Image Cropped Image Squaring

A C D E F G H I J K L M N
B
A C D E F G H I J K L M N
B
2
2
3
3
4
4
5
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9
9
10
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Enlarged Image
Scaling, graphing & Tracing

Scaling

Figure 2.5.1: Scaling method

Electronic transfer methods

Apart from the manual methods of transferring drawings, various electronic processes can also be
used to transfer a design from one surface unto another. Examples of such methods are: xerography
scanning etc.

Summary

The session discussed the concept of transferring in Visual Arts. It explored how manual
transferring techniques such as chalking, carboning, scaling etc. are done. The session also
discussed.

Self-assessment Questions
Exercise 2.5
1. Define transferring
2. State FOUR manual methods of transferring a sketch from one surface unto another

SESSION 6: DRAWING OF LINES, SHAPES AND FORMS

Introduction
Dear learner, in this session, we are going to introduce you to the basic techniques required to
sketch objects effectively. We will practice how to use freehand sketching to draw different
types of actual lines at different angles as well as shapes and forms. It is a complete practical
session so organize your drawing kits for the exercise.
Objectives
By the end of this session, you will be able to;
1. use freehand to draw different types of lines, shapes and forms at different angles
Now do the practical exercises…
Practical Activity 1: Drawing of Lines
You will require the following tools for the exercise:
 B pencils
 Sketch pad
 Drawing table or drawing board
Practical Activity A
Use a single freehand stroke to draw at least 50 of each of the following lines in your sketch pad.
 a) Parallel vertical lines
b) Parallel horizontal lines
c) Parallel inclined lines
d) Parallel curved lines
Practical Activity B
Use a single freehand stroke to draw at least 50 of each of the following lines in your sketch pad.
a) Parallel contour lines in vertical direction
b) Parallel contour line in horizontal direction
c) Parallel Zigzag lines in horizontal direction
d) Parallel broken lines in horizontal direction
e) Parallel broken lines vertical direction
Practical Activity C
Use a single freehand stroke to draw at least 50 spiral lines in your sketch pad.
Note: You can show your sketches to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your sketches to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury. Please, do not use eraser to rub any wrong stroke.
Practical activity 2: Drawing of Shapes
You will require the following tools for the exercise:
 B pencils
 Sketch pad
 Drawing table or drawing board
Practical Activity A
Use only FOUR quick strokes to draw at least 50 of each of the following shapes in your sketch
pad:
a) Rectangle
b) Square
c) Parallelogram
Practical Activity B
Use only THREE quick strokes to draw at least 50 equilateral triangles in your sketch pad.
Practical Activity C
Use a single quick stroke to draw at least 50 of each of the following shapes in your sketch pad:
a) Circle
b) Ellipse
Note: You can show your sketches to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your sketches to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury. Please, do not use eraser to rub any wrong stroke.
Practical activity 3: Drawing of Forms
You will require the following tools for the exercise:
 B pencils
 Sketch pad
 Drawing table or drawing board
Practical Activity A
Use only THREE quick strokes to draw at least 50 cones
Practical Activity B
Use only FOUR quick strokes to draw at least 50 cylinders
Practical Activity C
Use only TWO quick strokes to draw at least 50 hemi-spheres
Practical Activity D
Use quick strokes to draw at least 50 of each of the following forms:
a) pyramid
b) Cube
c) Cuboid
d) Prism
Note: You can show your sketches to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your sketches to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury. Please, do not use eraser to rub any wrong stroke.
Summary
The session tasked students to use freehand to sketch lines, shapes and forms. The use of quick
single strokes to draw the lines and sketch the shapes and forms were emphasized. The session
also discouraged students from rubbing wrong strokes with eraser.
Self-assessment Questions
Exercise 2.6
1. Draw each of the following forms:
 a) Circular column
b) Square beam
c) Rectangular slab
d) Circular slab

UNIT 3: PERSPECTIVE DRAWING AND DRAWING AND RENDERING OF FORMS

Unit Outline
Session 1: Concept and types of perspective Drawing
Session 2: Terms in perspective Drawing
Session 3: Parts of Picture Plane
Session 4: Drawing and Shading of Forms
Session 5: Drawing and Painting of Forms
Session 6: Principles of Composition Drawing and Composition of Forms
Overview
Dear learner, we belief at this stage of your studies, you have acquired basic knowledge and
skills in drawing processes and principles of sketching? Great! In this unit, we going to introduce
you to another important phenomenon which is massively applied in drawing called perspective
drawing. You will also be tasked to apply your knowledge and skills in basic to draw, shade and
paint forms and also compose forms into a picture. We will use simple explanations, instructions,
sample drawings and paintings to guide you perform the practical activities. Please relax, it will
be an interesting unit.
Objectives
By the end of this unit, you will be able to;
1. discuss the concept and scope of perspective drawing
2. discuss and apply terms and principles of perspective drawing
3. illustrate and discuss parts of a picture plane
4. draw and shade forms
5. draw and paint forms
6. compose forms into pictures

This is a blank sheet for your short notes on:

 Issues that are not clear, and
 difficult topics, if any.
SESSION 1: CONCEPT AND TYPES OF PERSPECTIVE DRAWING
Introduction
Dear learner, welcome to any interesting topic in Visual Art called perspective drawing. In this
session we will introduce you to the concept of perspective drawing and how it is applied in
pictorial drawing. We will also discuss types of perspective drawing, terms used in perspective
drawing, concept and principles of composition drawing and how they are applied in picture
making. Please relax, it will be another interesting session.
Objectives
By the end of the lesson, you will be able to;
1. define perspective drawing
2. state and describe principles of the two major types of perspective drawing
Now, read on…
Perspective Drawing

The term perspective refers to the art or science of representing an object or scene on a flat surface
as they appear to the eye from a distance. In other words, it is the art of manipulating lines and
colour to create illusion of depth and distance in an object or scene on a two-dimensional surface.
Perspective drawing is an example of illusionism in visual art. There are two main types of
perspective drawing: Linear Perspective and aerial Perspective.

Linear Perspective

This is the art or science of manipulating lines to depict illusion of depth and distance in an object
or scene. The basic principles of linear perspective are:

 Objects seem to reduce in size as they recede from the viewer or towards the vanishing
point.
 Horizontal or receding lines seem to converge in a distance until they meet at a vanishing
point on the eye-level where they disappear.

A simple example of this phenomenon can be observed when one stands at the middle of a long
road and looks forward at the far end. The edges of the road seem to narrow into distance and
finally disappear at the middle of the road on the eye-level. This phenomenon occurs because, it
is the amount of light emitting from our eye lens that make us see objects in distance and this light
reduces in intensity as the lens travels into distance. Therefore, objects closer to the viewer reflect
lighter than distance objects. It is this natural phenomenon that creates the visual illusion that, close
objects appear bigger and reduces in size as the objects recede towards the vanishing point. There
are three basic methods or techniques of drawing objects or scenes in linear perspective:

 One-point or parallel perspective

 Two-point or angular perspective
 Three-point or oblique perspective

One-point or Parallel Perspective: This is a technique of linear perspective in which receding

lines are projected to converge at only one vanishing point. Figure 3. 1.1 is the illustration of one-
point perspective:
 VP

Parallel/One-point Perspective

Figure 3.1.1: One-point or parallel perspective

Principles of Parallel or one-point Perspective

 When the object is drawn on the eye-level, all the receding lines must be projected from
the edges of the visible elevation to converge at one vanishing point on the eye-level.
 When the object is drawn above eye-level, all the receding lines must be projected from
the edges of the visible elevations to slope downwards to converge at one vanishing point
on the eye-level.
 When the object is drawn below eye-level, all the receding lines must be projected from
the edges of the visible elevations to raise upwards to converge at one vanishing point on
the eye-level.
 Lines closer to the foreground appear thick and deduce in thickness towards the horizon.

Two-point or Angular Perspective: This is a method of linear perspective in which receding lines
are projected to converge at two different vanishing points on the eye-level. Figure 3. 1.2 is the
illustration of two-point or angular perspective:
VP VP

Angular/Two-point Perspective
 Figure 3.1.1: Two-point or angular perspective

Principles of Two-point or Angular Perspective

 When the object is drawn on the eye-level, the receding lines must be projected form the
edges of the visible elevations to converge at two different vanishing points on the eye-
level.
 When the object is drawn above eye-level, the receding lines must be projected from the
edges of the visible elevations to slope downwards to converge at two vanishing points
on the eye-level.
 When the object is drawn below eye-level, the receding lines must be projected from the
edges of the visible elevations to raise upwards to converge at two vanishing points on
the eye-level.

Three-point or Oblique Perspective: This is a technique of linear perspective in which the

receding lines are projected to converge at three different vanishing points. This method is
mostly used for objects viewed below or above eye-level. Figure 3.1.3: is the illustration of
three-point or oblique perspective:
 VP VP

VP

Oblique/Three-point Perspective

Figure 3.1.3: three-point or oblique perspective

Aerial perspective

This is also called atmospheric or colour perspective. The method is based on the fact that,
moisture and dust in the air obscure vision of distant objects therefore making them appear foggy
and paler. Aerial perspective therefore can be defined as the art of using colour to suggest illusion
of depth and distant in a drawing or painting.

Principles of Aerial Perspective

 Objects closer to the viewer or foreground appear stronger or intense in colour.

 Objects reduce in intensity as they recede into distance or towards the vanishing point.
 Colour gradation is used to create illusion of depth or hole in a drawing or painting where
the deeper side of the hole is painted with the darkest tone which blend through pale tones
towards the front.

Aerial perspective is mostly applied in composition and landscape drawing or painting. E.g., when
painting a seascape, the colour of the sea becomes paler towards the shore and gradates through
intense tones to dark tones towards the horizon. It must be noted that the lower parts of the sky
appear paler and gradate through intense tones upwards (Agyarkoh, 2017).

Conversely, when painting a long road, the colour is intensified at the foreground and graduate
through pale tones towards the horizon. Figure 3.1 4 is an illustration of aerial perspective:
 Eye-Level
VP

Pale tones

Intense tones

Aerial Perspective

Figure 3.1 4: Illustration of aerial perspective

Summary
The session discussed the concept of perspective drawing in the concept of Visual art and
highlighted the principles of the two main types of perspectives; linear and aerial perspectives.
The session further discussed how each of the two types of perspective drawings are applied in
Visual arts.
Self-assessment Questions
Exercise 3.1
1. Define perspective drawing
2. state the two main types of perspective drawing
3. state TWO principles of each of the two main types of perspective drawing

SESSION 2: TERMS IN PERSPECTIVE DRAWING

Introduction

Dear learner, in this session, we are going to introduce you some basic terminologies used in
perspective drawing. We hope your knowledge and understanding of these terms will build your
vocabulary in art. Please relax, it will be an interesting session.

Objectives

By the end of this session, you will be able to;

1. state and explain at least six terminologies use in perspective drawing

Now read on…

Vanishing Point (V.P.): This is a particular point where receding lines converge. Vanishing point
is represented with a dot(s) and it usually occurs on the eye-level. In one-point perspective, the
vanishing point is sometimes referred to as Centre of Vision (C.V.)

Eye-Level: When an object or scene is viewed on a horizontally line at an angle of 1800. When
viewing an object at the eye-level, the viewer must look straight without tilting his or her head
below or above the imaginary centre line. When an object is viewed on the eye-level, only the
front elevation will be seen.

Above Eye-Level: When an object is viewed above the imaginary centre line, the viewer tilts or
raises his or her head up above the eye-level line to form an acute angle. When an object is viewed
on the eye-level, only the front elevation and the base will be seen.

Below Eye-Level: When an object is viewed below the eye-level line, the viewer tilts or lowers
his or her head downwards below the eye-level line to form an acute angle. When an object is
viewed below eye-level, only the front elevation and the plan (top) are seen. The illustration below
demonstrates how objects are drawn at different view levels in perspective drawing:

Above Eye-Level

On The Eye-Level Eye-Level

Below Eye-Level

The Visual Field or Field of Vision: This is a circular shaped format which occupies our vision
when we see the world around us. The range of the visual field is very extensive. It stretches
horizontally from 100 at the centre of vision to 900 at the end of the circle and vice versa. However,
the extent of vision to 1350 at the vertical line ranges from 100 at the centre of vision to 1350 at the
end of the circle and vice versa. In other words, the visual field ranges from 00 to 1800 horizontally
and 900 to 2700 vertically.
Cone of vision: Upon viewing a scene from the visual field, the eyes focus first at the centre of
the field and extends it views to both sides horizontally. Usually, the part of the scene that is seen
within 150 to 300 range at both sides appears very clear and visible. However, the view starts to
fade and distort as it is extended beyond the 300 to the end of the field of vision. In other words,
the maximum degree of view in which objects or scenes appear clearer is 600 from the line of sight
or centre of vision. This 600 range in which objects are seen clearly is what is referred to as a cone
of vision.

Foreshortening

This is a method of perspective drawing in which the through shape and proportion of an object or
figure is distorted to appear shorter and smaller to the eye. Foreshortening also applies the principle
of linear perspective which states that: objects fearer away from the viewer appear smaller and
increase in size as it advances towards the viewer (Agyarkoh, 2017).

A typical example of this phenomenon can be observed when a ship emerges from high seas; its
size seems to increase as it advances towards the shore. However, only the frontal view of the ship
can be captured in a drawing which does not give a full picture of the ship. Another example of
foreshortening can be seen when one points his fingers at you. In this instance, only the tips of the
fingers are seen as small circle.

Summary

This session discussed some important terminologies used in perspective drawing. It highlighted
on terms on levels of view and others such as cone of vision, vanishing point, foreshortening etc.

Self-assessment Questions
Exercise 3.2
1. Mention the parts of a rectangular box that will be seen when viewed from the following
levels:
a) Eye level
b) Below eye level
c) Above eye level
2. Define each of the following terms used in perspective drawing:
a) Cone of vision
b) Vanishing point
SESSION 3: PARTS OF PICTURE PLANE
Introduction
Dear learner, in our subsequent units, we will introduce you to basic principles of composition
drawing. In composition drawing, you are required to have knowledge of the concept of picture
plane so that you will be able to apply the principles well. This session therefore will introduce
you to the concept of picture plane and its parts.
Objectives
By the end of this session, you will be able to;
1. explain the concept of picture plane
2. state and describe the parts of picture plane
3. draw picture plane and label it appropriately
Now read on…
Concept of Picture Plane

In Visual art, picture plane is described as the definite space or enclosed area in which a drawing
is made. It is also called the picture area. The picture plane is usually represented in rectangle or
square. However, it can depict other shapes depending on the scene being drawn. The picture plane
is usually taken with a view finder from the cone of vision.

Parts of Picture Plane

Horizon: This is an imaginary or implied line that divides the sea, city, trees and the ground from
the sky. Horizon line can occur in a drawing in many forms depending on the nature of the scene
being draw e.g., it can be seen as horizontal, curved or irregular lines.

Please do this Exercise

Stand at the beach or in the middle of a street in a town or city and observe how the horizon line
separates the sea, trees and building from the sky.

Background: This is the area above the horizon line.

Mid-ground: This is the closers area below the horizon line. It often suggests depth in a picture
plane. It is ended by a horizon line.
Foreground: This is the area of the picture plane that is closer to the viewer. It can also be referred
to as the area seen before or in front of the objects in the drawing. Figure 3.3.1 is the illustration
of a picture plane:

Background

Horizon

Mid-ground

Picture Plane/Picture Area

Foreground

Parts of a Picture Plane

Figure 3.3.1: Parts of Picture Plane

Summary

This session focused on picture plane. It explained the concept of picture plane, its parts and the
roles they play in composition drawing. The parts of the picture plane discussed are horizon,
background, foreground and mid-ground.

Self-assessment Questions
Exercise 3.3
1. Define a picture plane
2. Describe each of the following parts of a picture plane:
a) Horizon
b) Foreground
c) Background

SESSION 4: DRAWING AND SHADING OF FORMS

Introduction
Dear learner, in our earlier sessions, we discussed the concept of chiaroscuro and how it is
applied in rendering. We also practiced how to train the wrist in freehand drawing and drew
different lines, shapes and forms at different angles using quick, faint and sharp strokes. In this
session, we are going to apply these knowledge and skills to draw and shade different types of
geometric forms. This is a complete practicum so please organize your drawing kits and lets role.
Objectives
By the end of this session, you will be able to;
1. Draw different geometric forms and shade realistically
Now, let’s start the drawing exercises
Practical Activity 1
Draw the following forms and use mass shading technique to render in lead pencil:
 Cube
 Cuboid
 Pyramid
 Prism
Note: You must indicate your own source of light and apply all elements of chiaroscuro to render
the forms realistically. Please, note that, in principle, reflected lights do not fall on flat objects
and tonal values do not gradate. Also, you can show your drawing to any Visual Art teacher,
tertiary Visual Art student or any professional artist in your area for guidance. Also, present
your drawings to your next tutorial class for your course tutor and course mates to jury the
work. Please, effect all the necessary corrections after the jury. Figure 3.4.1 is an example of
shaded forms:

Figure 3.4.1: Example of some shaded forms

Practical Activity 2
Draw the following forms and use mass shading technique to render in lead pencil:
  Cylinder
 Cone
 Sphere
 Hemi-sphere
Note: You must indicate your own source of light and apply all elements of chiaroscuro to render
the forms realistically. Please, note that, in principle, reflected lights fall on round objects and
tonal values gradate from dark-tones through middle-tones to light-tones and highlights. Also,
you can show your drawing to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your paintings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.
Summary
The session tasked the learner to apply his/her knowledge and skills in drawing, chiaroscuro and
shading to draw and shade different types of geometric forms. Emphasis was placed on the use
of mass shading technique.
Self-assessment Questions
Exercise 3.4.
1. State one principle to apply when shading each of the following objects realistically:
a) Object with flat planes
b) Round objects
2. Using pen and ink technique and the shading techniques indicated, draw each of the following
objects and render realistically:
a) Cone-Hatching
b) Cylinder-Broken-cross hatching
c) Cuboid- Cross hatching
d) Sphere-pointillism

SESSION 5: DRAWING AND PAINTING OF FORMS

Introduction
Dear learner, this session is an extension of session 4 because, you are going to apply the same
principles you used to draw and shade the forms to paint the forms. Note however that, the wet
paint is liquidized so you will require other tool kits and other skills.
Objectives
By the end of this session, you will be able to;
1. draw different types of geometric forms and paint realistically
Now, let’s continue the practical exercises
Practical Activity 1
You will require the following for the exercise:
 Shading brushes(sable)
 Water colour/Poster colour/Acrylic colours
 Palette
 White hard card (Manila card or chipboard)
 Water
 Rag
 Small cans
 2B pencil
 Eraser
 Drawing board
 Etc.
Draw the following forms and paint in monochrome using blended painting technique:
 Cube
 Cuboid
 Pyramid
 Prism
Note: You must indicate your own source of light and apply all elements of chiaroscuro to render
the forms realistically. Please, note that, in principle, reflected lights do not fall on flat objects
and tonal values do not gradate. You can show your paintings to any Visual Art teacher, tertiary
Visual Art student or any professional artist in your area for guidance. Also, present your
paintings to your next tutorial class for your course tutor and course mates to jury the work.
Please, effect all the necessary corrections after the jury. Figure 3. 5.1 is an example of some
forms painted in monochrome:
 Figure 3.5.1: Example of some forms painrf in monochrom
Practical Activity 2
Draw the following forms and paint in full colour (polychrome) using blended painting
technique:
 Cylinder
 Cone
 Sphere
 Hemi-sphere
Note: You must indicate your own source of light and apply all elements of chiaroscuro to render
the forms realistically. Please, note that, in principle, reflected lights fall on round objects and
tonal values gradate from dark-tones through middle-tones to light-tones and highlights. Also,
you can show your paintings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your paintings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.
Dear learner, now that you have acquired basic skills in realistic painting, you must also practice
how to apply the other painting techniques to render objects. Especially, wash, flat painting
techniques (Silhouette and flat-tone painting) and pen and wash.
Again, you can seek assistance from any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area. Also, present your paintings to your next tutorial class for your
course tutor and course mates to jury the work. Please, effect all the necessary corrections after
the jury.
Summary
The session tasked the learner to apply his/her knowledge and skills in drawing, chiaroscuro and
painting to draw and paint different types of geometric forms. Emphasis was placed on the use of
monochromatic and polychromatic painting techniques
Self-assessment Questions
Exercise 3.5.
1. State TWO principles to observe when doing realistic painting.

SESSION 6: PRINCIPLES OF COMPOSITION DRAWING AND COMPOSITION OF

FORMS
Introduction
Dear learner, we welcome you to another form of practical session. In this session, you are still
going to apply your knowledge and skills in drawing to draw different geometric forms in
groups. To enable you compose the forms effectively, we will discuss the concept of
composition drawing and basic principles of composition drawing. Please relax, it will be an
interesting session.
Objectives
By the end of the session, you will be able to;
1. organise forms into different types of compositions to form pictures
Now let’s read on…
Concept of Composition Drawing

In Visual arts, composition drawing is described as the art of drawing animate or inanimate objects
in group. For instance, Geometric shapes, still-life objects, human beings, animals, landscape
drawings and painting are examples of composition works. A composition drawing could be
imaginative or made from direct observation of a scene or composed items. To be able to produce
good imaginative compositions one must have good sense of perception, imagination, creativity,
drawing and rendering.

Principles of Composition Drawing

 It should have a definite theme.

 Must have one centre of interest
 The objects or characters in the composition must be more than one. Preferable, good
compositions must not have less than five objects.
 The items can base on one class of objects or different kinds of objects provided they depict
a specific theme.
 The items in the composition must relate to the theme of the composition.
 All relevant elements, principle of design, perspective and chiaroscuro must be applied.

Though the scope of composition drawing is broad, in this session, you are going to experiment or
explore how to apply the principles of composition drawing to organise forms into different
compositions.

Practical Activity
You will require the following for the exercise:

 Sketch pad
 2B pencil
 Eraser

Using the principles of composition drawing, organise the following forms into FOUR different
compositions. Select some of the composed forms and shade and paint:

 Cuboid
 Cylinder
 Cone
 Sphere
 Pyramid

Note: Each composition should be done in a picture area.

You can show your drawings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Figure 5. 3.6.1and 2 are samples of some of the shaded and painted compositions.
 Figure 5.3.6. 1: samples of shaded composed forms

Figure 5.3.6. 1: samples of painted composed forms

Summary
The session discussed the concept and principles of composition drawing. It also tasked the
learner to base on the principles of composition to plan four different compositions of some
forms.
Self-assessment Questions
Exercise 3.6.
1. state FOUR principles of composition drawing
2. Make a composition drawing of the following objects:
a) Slab
b) Hemi-sphere
c) Prism
d) Cube

UNIT 4: OBJECT DRAWING, SHADING AND PAINTING

Unit Outline
Session 1: Quick sketches of literal and round artificial objects at different positions and
drawing, shading and painting of artificial objects

Session 2: Drawing, shading and painting of natural inanimate objects (Fruits, vegetables, crops
etc.)
Session 3: Drawing, shading and painting of natural inanimate objects (plants)
Session 4: Still-life Composition drawing, shading and painting of artificial objects to depict a
theme (Part One)
Session 5: Still-life Composition drawing, shading and painting of artificial objects to depict a
theme (Part Two)
Session 6: Still-life Composition drawing, shading and painting of natural objects to depict a
theme

Overview
Dear learner, this unit is a complete practicum. It aims at deepening your skills in object
drawing, painting and composition. You are expected to apply all the theories, principles and
preliminary skills you have acquired in basic drawing, shading, painting and composition to
draw, shade and paint artificial and natural objects singularly and in composition. The unit will
be taught through demonstrations, individual practical assignments and jury sessions.
Objectives
By the end of this session, you will be able to;
1. do quick sketches of literal and round artificial objects
2. draw and shade different types of artificial objects
 3. draw and paint different types of artificial objects
4. draw and shade different types of natural inanimate objects
5. draw and paint different types of natural inanimate objects
6. do still-life composition of artificial objects and shade
7. do still-life composition of artificial objects and paint
8. do still-life composition of natural inanimate objects and shade
9. do still-life composition of natural inanimate objects and paint

This is a blank sheet for your short notes on:

 Issues that are not clear, and
 difficult topics, if any.
SESSION 1: QUICK SKETCHES OF LITERAL AND ROUND ARTIFICIAL OBJECTS
AT DIFFERENT POSITIONS AND DRAWING, SADING AND PAINTING OF
ARTIFICIAL OBJECTS
Introduction
Dear leaner, we welcome you to the first practical session of this unit. In this session, we are going
to build your skills in quick sketching. We will task you to use thumbnail sketches to do several
quick sketches of literal and round artificial objects at different positions. You are not expected to
use more than 30 seconds to sketch an object at a particular position. Please, we entreat you to take
these practical activities very serious because, it will provide a good foundation for you in
subsequent drawing exercises.
Objectives
By the end of this session, you will be able to;
1. do several quick sketches of literal artificial objects at different positions
2. do several quick sketches of round artificial objects at different positions
Now, let’s start the practical exercises
Practical activity 1(A): Quick sketches
You will require the following items for the exercise:
 B pencils
 Sketch pad
 Drawing board
 Table
 Rectangular box etc.
Setting-up for the exercise
 Place the table before you
 Put the box on the table at any position
Sketching of the object
 Place your sketch pad on a table and open a page
 Observe the object on the table very well to identify angle of placement
 Use quick faint lines to sketch the object on the page
 Change the positions of the object several times and sketch each of them.
Note: Please do not use eraser to rub any mistake and do not spend more than 30 seconds to sketch
the object at each position. For each of the sketches, please try and sketch only the part(s) of the
object you see from your viewing position. You can show your drawings to any Visual Art teacher,
tertiary Visual Art student or any professional artist in your area for guidance. Also, present your
drawings to your next tutorial class for your course tutor and course mates to jury the work.
Please, effect all the necessary corrections after the jury. Figure 4.1.1 is an example of quick
sketches of a kitchen stool at different positions:
 Figure 4.1.1: Quick sketches of kitchen stool at different positions

Practical Activity 1(B): Quick sketches

You will require the following items for the exercise:
 B pencils
  Sketch pad
 Drawing board
 Table
 Saucepan/Drinking cup etc.
Setting-up for the exercise
 Place the table before you
 Put the item on the table at any position
Sketching of the object
 Place your sketch pad on a table and open a page
 Observe the object on the table very well to identify angle of placement
 Use quick faint lines to sketch the object on the page
 Change the positions of the object several times and sketch each of them.
Note: Please do not use eraser to rub any mistake and do not spend more than 30 seconds to sketch
the object at each position. For each of the sketches, please try and sketch only the part(s) of the
object you see from your viewing position. You can show your drawings to any Visual Art teacher,
tertiary Visual Art student or any professional artist in your area for guidance. Also, present your
drawings to your next tutorial class for your course tutor and course mates to jury the work.
Please, effect all the necessary corrections after the jury.

Practical Activity 2(A): Drawing and shading of artificial objects

Draw the following man-made objects individually and render in mass shading technique:
 Matches box
 Chopping board
 Drinking cup
 Jag
 Saucepan
Please, indicate your own sauce of light
Practical Activity 2(B): Drawing and painting of artificial objects
Draw the following man-made objects individually and paint in monochrome shading technique:
 Matches box
 Chopping board
 Drinking cup
 Jag
 Saucepan
Please, indicate your own sauce of light.
You can show your drawings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Summary

The session tasked learners to do several quick sketches of literal and round artificial objects at
different positions. The session emphasised that, learners must draw only the part(s) of the object
day see. Also, some selected artificial objects were drawn, shaded and painted in monochrome.

Self-assessment Questions
Exercise 4.1.
1. State TWO competencies you acquired in the quick sketching exercise

SESSION 2: DRAWING, SHADING AND PAINTING OF NATURAL INANIMATE

OBJECTS (FRUITS, VEGETABLES, CROPS ETC.)
Introduction

Dear learner, in this session, you are going to apply all the knowledge and skills you have acquired
in drawing and rendering to draw, shade and paint individual natural inanimate objects. Please
make your drawing and painting kits ready for the exercise.

Objectives

By the end of this session, you will be able to;

1. draw natural inanimate objects and shade realistically

2. draw natural inanimate objects and paint realistically

Now, lets start the drawing exercises

Practical Activity 1: Drawing and shading of crops

You will require the following for the exercise:

  4B, 5B, 6B, etc. lead pencils
 Sketch pad
 Eraser
 Drawing board

Draw each of the following crops and shade realistically in mass shading technique. Please indicate
your own source of light to the objects:

 Plantain
 Yam
 Potato
 Cassava
 Cocoyam

You can show your drawings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Practical Activity 2: Drawing and painting of vegetables

You will require the following for the exercise:

 2B lead pencil
 Painting brushes (Sable)
 Palette
 Cans
 Rag
 Water
 Masking tape
 White Manila card or chip board
 Water colour/Poster colour/acrylic paint
 Drawing board
 Etc.
Draw each of the following vegetables and paint realistically in monochrome. Please indicate your
own source of light to the objects:

 Tomatoes
 Pepper
 Okra
 Cucumber
 Onion

You can show your paintings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Practical Activity 3: Drawing and painting of fruits

Draw each of the following fruits and paint realistically in full colour. Please indicate your own
source of light to the objects:

 Banana
 Orange
 Apple
 Pawpaw
 Water Melon

You can show your paintings to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Summary

The session tasked learners to use their knowledge and skills they have acquired in drawing and
rendering to draw, shade and paint natural inanimate objects realistically.

Self-assessment Questions
Exercise 4.2.
1. State Two challenges you encountered in the drawing, shading and painting of the objects

SESSION 3: DRAWING, SHADING AND PAINTING OF NATURAL INANIMATE

OBJECTS (PLANTS)
Introduction
Dear learner, in this session, you will continue the drawing and painting exercises you did in
session two. However, in this session, you will draw, shade and paint plants.
Objectives
By the end of this session, you will be able to;
1. draw plants and shade realistically
2. draw plants and paint realistically

Please, let’s start the exercise

Practical Activity 1: Drawing, shading and painting of plants
a) Draw a life plantain tree and shade in lead pencil using mass shading technique.
b) Draw a life plantain tree and paint realistically in monochrome.
c) Draw a life plantain tree and paint realistically in full colour.
You can show your drawings and paintings to any Visual Art teacher, tertiary Visual Art student
or any professional artist in your area for guidance. Also, present your drawings to your next
tutorial class for your course tutor and course mates to jury the work. Please, effect all the
necessary corrections after the jury. Figures 4.3.1 and 2 are samples of shaded and painted plantain
trees:
 Figure 4.3.1: Shaded plantain tree Figure 4.3.2 painted plantain tree

Practical Activity 2: Drawing, shading and painting of plants continue

a) Draw a life tree with leaves and shade in lead pencil using mass shading technique.
b) Draw a life tree with leaves and paint realistically in monochrome.
c) Draw a life tree with leaves and paint realistically in full colour.
Please note the following:
After you have drawn the form of the plant and leaves correctly, please ignore all the veins,
textures and patterns on it and shade or paint the form to make it solid and three dimensional
according to your source of light. After that, shade or paint the detailed textures, veins or patterns
to harmonise with the tonal values on the form. Please, do not use the same value to depict the
veins, textures and patterns on the form.
You can show your drawings and paintings to any Visual Art teacher, tertiary Visual Art student
or any professional artist in your area for guidance. Also, present your drawings to your next
tutorial class for your course tutor and course mates to jury the work. Please, effect all the
necessary corrections after the jury.

Summary

The session tasked learners to deepen their skills in shading and painting by drawing and paint of
a plant realistically.
Self-assessment Questions
Exercise 4.3.
1. State one factor to observe when shading textures and patterns on plants

SESSION 4: STILL-LIFE COMPOSITION DRAWING, SHADING AND PAINTING OF

ARTIFICIAL OBJECTS TO DEPICT A THEME (PART ONE)
Introduction
Dear learner, we hope you still remember the principles of composition we discussed earlier in
the unit? Great! in this session, we are going to task you to apply the principles of composition
drawing and your knowledge and skills in drawing and rendering to draw and shade artificial
objects to depict a specific theme and shade realistically.
Objective
By the end of this session, you will be able to;
1. Do still-life composition of artificial objects to depict a specific theme and shade
realistically in lead pencil

Please, let’s start the exercise

Practical Activity 1: Still-life composition and shading of artificial objects (Theme:
Traditional cooking utensils)
Make still-life composition of the following objects and shade realistically in lead pencil:
 Wooden mortar
 Wooden pistol
 Aluminum port
 Grinding port
 Coal port
 Etc.
Figure 4.4.1(A, B, C & D) are example of shaded and painted still-life composition of artificial
objects:

Figure 4.4.1(A):Cooking utensils Figure 4.4.1(B): Cooking utensils Figure 4.4.1): Leather ware
 Figure 4.4.1(D): Painted traditional cooking utensils Figure 4.4.1(E): Painted leather ware
You can show your drawing to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Summary
The session tasked learners to deepen their skills in composition drawing by composing artificial
objects and shade realistically to depict a specific theme.

Self-assessment Questions
Exercise 4.4.
1. State TWO perspective drawing principles to observe when doing composition drawing and
rendering

SESSION 5: STILL-LIFE COMPOSITION DRAWING, SHADING AND PAINTING OF

ARTIFICIAL OBJECTS TO DEPICT A THEME (PART TWO)
Introduction
Dear learner, this session is a continuation of the still-life composition of artificial objects.
However, in this session you will compose the objects and paint realistically.
Objectives
By the end of this session, you will be able to;
2. Do still-life composition of artificial objects to depict a specific theme and paint
realistically in full colour
Practical Activity 2: Practical Activity 1: Still-life composition and painting of artificial
objects (Theme: Tea preparation)
Make still-life composition of the following objects and paint realistically in full colour:
 Milk Tin
 Loaf/sliced bread
 Tea cap half full with tea with spoon in it
 Milo Tin
 Water jag
 Etc.

Figure 4.5.1, 2, and 3 are examples of a still-life composition with themes:

Figure 4.5.1: Tea Preparation Figure 4.5. 2: Leather ware

Figure 4.5.3: Bathing items Figure 4.5.4: Cleaning apparatus

You can show your painting to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Summary
The session tasked learners to deepen their skills in composition drawing and painting by
composing artificial objects and paint realistically to depict a specific theme.

Self-assessment Questions
Exercise 4.5.
1. Describe how to achieve depth and distance in a composition drawing and painting

SESSION 6: STILL-LIFE COMPOSITION DRAWING, SHADING AND PAINTING OF

NATURAL OBJECTS TO DEPICT A THEME
Introduction
Dear learner, this session is a continuation of the still-life composition drawing. However, in this
session you will compose, shade and paint natural objects realistically.
Objectives
By the end of this session, you will be able to;
1. Do still-life composition of natural objects to depict a specific theme and shade realistically
2. Do still-life composition of natural objects to depict a specific theme and paint realistically
in full colour

Practical Activity 1: Practical Activity 1: Still-life composition and shading of natural

objects (Theme: Fruits)
Make still-life composition of the following objects and shade realistically in pen:
 Orange
 Pine Apple
 Banana
 Water melon
 Pawpaw
 Etc.
Practical Activity 2: Practical Activity 1: Still-life composition and painting of natural
objects (Theme: Fruits)
Make still-life composition of the following objects and paint realistically in full colour:
 Half sliced Orange
 Pine Apple
 A bunch of Banana
 Quarter sliced Water Melon
 Half sliced Avocado pear
  Etc.
Figure 4.6.1 (A &B) are examples of a still-life composition of fruits:

Figure 4.6.1 (A): Fruits Figure 4.6.1 (B: Fruits

You can show your painting to any Visual Art teacher, tertiary Visual Art student or any
professional artist in your area for guidance. Also, present your drawings to your next tutorial
class for your course tutor and course mates to jury the work. Please, effect all the necessary
corrections after the jury.

Summary
The session tasked learners to deepen their skills in composition drawing and painting by
composing fruits and painting realistically.

Self-assessment Questions
Exercise 4.6.
1. State TWO ways in which aerial perspective is applied in composition rendering.

ANSWER TO SELF-FULFILMENT QUESTIONS

UNIT 1: INTRODUCTION TO DRAWING
Exercise 1.1
1. The deference between technical drawing and sketching is that, technical drawing uses a set of
drawing instruments such as ruler, compass, T-Square, drawing board, protractors, etc. To draw
objects to accurate measurements and scale. However, in sketching, only a media such as a
pencil, pen, crayon, etc. is used to draw an object to sze using mental calculations and visual
measurements.

2. Areas where technical drawing and drafting are mostly applied include the following:
 Architectural design
 Furniture design
 Land surveying
 Mechnical engieening
 Product design etc.

3. Some uses of sketching are as follows:

 To illustrate books, posters, packages, signage etc.
 To create a visual impression of a product
 To investigate crime
 To describe an event
 To design an instructional material
 To Produce pictures
 Etc.


Exercise 1.2
1. In Visual Arts, a tool is defined as any impliment that is used to execute an artwork but it does
not form part of the finished work. Examples are pallete, brushes, spatula, etc.

2. Parts of brush and their descriptions

Handle: The wooden or plastic part of a brush. It is often coated to make it impavious
Ferrule: The metal part of a brush in which the fillings are set with strong water insoluble glue
Filling: The part of the brush that is used to pick and apply a paint. It is made of animal hairr,
synthetic fillamets or natural fibres

3. Specific use of the following brushes:

a) Flat wall brush: It is used to paint large substrates
b) Art brush: It is used to paint, shade or paints details in an artwork

Exercise 1.3
1. The two classification of drawing media are:
Dry media and wet media. The dry media are hard drawing materials that are pressed or dragged
directly onto the surface of a ground in the desired direction to create marks that form a visual
image. Examples are pencils, crayons, pastel, charcoal sticks etc. Wet media on the other hand are
liquids or semi-liquidized materials used in conjunction with brushes or pens to paint or colour an
artwork.

2. Four types of dry media used in drawing are pencil, chalk, crayon,pastel, charcoal, etc.

Exercise 1.4
1. The constituents of paints are binder or vehicle, pigment, drier and thinner
2. Four functions of pigments are:
 It provides bulk to paints
 It provides opacity to paints
 It provide colour to paints
 It helps the paint to protect the substrate
 It builds up the film thickness of a paint

3. Four functions of a binder are

 It provides gloss to paints
 It provides elasticity to paints
 It helps the pigment to suspend in the medium
 It provides fluidity to the paint
 It helps the pigment to protech the paint from atmospheric elements

Exercise 1.5

1. Two characteristics of each of the following supports used in picture making are:
a) Metal: Corrodible or non-corrodible, It has smooth finish etc.
b) Cement plaster: Contains alkaline, porous
c) Wood: It is resinous, porous
d) Plastic: brittles with age, it has smooth surface, It can be bend etc.
2. One specific use of each of the following supports in picture making are:
a) Fabric: used as canvas for painting, stencil printing, etc.
b) Glass:Used as support for etching, paintings etc.
c) Paper: Used as support for paintings, direct printing, collage and mosaic making etc.
d) Cement plaster: used as support for wall branding, murals paintings etc.

Exercise 1.6
1. Saponifiation is a defect in painting wherby Linseed oil used as a binder in enemel paints is
attacked chemically by a moisture activated alkaline in a cement wall which converts the binder
to a soft sticky brown soapy substance that runs on the surface of the paint film.
2. the explainfor each of the following preparatory processes used in ground preparation are:

a) Sizing: the process of applying diluted glue size(PVA adhesive) unto the ground of a fabric
to seal the pores
b) Priming: The proess of applying a first coat of paint unto a surface so as to seal the pores
to provide adhession for the subsequent coatings
c) Degreasing: The process of using white spirit to wash down a new metal surface to remove
contaminated grease and dirt from the surface
d) Cutting down: The process of using fine abrasive paper to rub down a dried filler slightly
on a surface to obtain an even and smooth surface.
e) Washing down: the process of using soapy water to desolve grease, oil and dirt
contanimation on a painted surface before painting
f) Filling: the process of using a filler to seal tiny holes and cracks on a substrate to provide
an even surface before painting

Exercise 2.1
1. In the context of drawing, observation is defined as the process of using the human
senses(Eye, hand, norse, muscles etc.) to criticaly examine or study the visual and non-visual
qualities of an object or phenomenon. Qualities that are observed include colour, lines, shapes
forms, angles, textures, planes, etc.
2. One specific element each of the following human senses is used to observe are:
a) Eye: Colours, lines, shapes, forms, textures etc.
b) Hand: texture, line, form, shape etc.
c) Muscle: Weight

Exercise 2.2
1. Definition of each of the following drawing processes are:
a) Blocking-in: the is the process of using thumbnail sketches and basic shapes, forms and
lines identified in an object to plane a darwing on a surface to obtain correct balance and
proportion.
b) Outline or contour drawing: This involves using thick lines to define the actual shape ofr
form of an object(s) after blocking-in.
c) Detailed drawing; This involves using different lines to depict the fine details of an object
to achieve resemblace.
2. One geometric form that can be used to block-in each of the following natural objects are:
f) Half-sliced Orange-Hemi-sphere
g) Full water Mellon-Sphere
h) Full Pawpaw- Oval
i) Full Carrot: Cone
j) Half-sliced Okra-Pyramid

Exercise 2.3
1. Renderingis the art of shading or painting a drawing to make it solid or real. The solidity is
achieved by applying the elements of chiaroscuro.
2. Chiaroscuro is the distribution of light on an object to create varying tones such as highlight,
light-tone, middle-tone, dark-tone, shadow and reflected lights.
3. The four line shading techniquesare:
 Hatching
 Cross-hatching
 Broken cross-hatching
 Mass shading
 Random scribbling
 Etc.

Exercise 2.4
1. Painting is the art of apply a wet media to form ore mould a drawing or sketch on a two-
dimentional surface.
2. The three flat painting techniques are:
 Two-dimensional silhouette
 Three-dimensional silhouette
 Flat-tone or hard edge painting

Exercise 2.5
1. Transferring is the process of tracing a sketch from one surface unto another.
2. The four manual methods of transferring a sketch from one surface unto another are:
 Scaling
 Carboning
 The use of tracing paper
 The use of light paper
 Chalking etc.

Exercise 2.6

Exercise 3.1
1. Perspective drawing is the art of using lines and colour to create illusion of depth and distance
on a two-dimensional surface.
2. The two main types of perspective drawing are:
a) Aerial perspective
b) Linear perspective

2. The two principles of each of the two main types of perspective drawingare:
Aerial perspective
 Objects closer to the foreground appear brighter and intense in colour
 Objects closer to the horizon appear pealer in colour
Linear perspective
 Objects reduce in size and scale as they advance towards the vanishing point
 All recceding lines converge at one, two or three vanising points

Exercise 3.2
1. The parts of a rectangular box that will be seen when viewed from the following levels are:
a) Eye level-Front View
b) Below eye level: Plan and front view
c) Above eye level: Bottom and front view

2. Define each of the following terms used in perspective drawing:

a) Cone of vision: This is the maximum degree of view in which objects or scenes appear clearer
from the line of sight or centre of vision. The range of view that form the cone of vision is 600.

b)Vanishing point (V.P.): This is a particular point where receding lines converge. Vanishing point
is represented with a dot(s) and it usually occurs on the eye-level.

Exercise 3.3
1. Picture plane: In Visual art, picture plane is described as the definite space or enclosed area in
which a drawing is made.
2. the description for each of the following parts of a picture plane are:
a)Horizon: This is an imaginary or implied line that divides the sea, city, trees and the ground from
the sky.

b)Foreground: This is the area of the picture plane that is closer to the viewer.

c)Background: This is the area above the horizon line.

Exercise 3.4
1. State one principle to apply when shading each of the following objects realistically:
a)Object with flat planes:Tonal values must be depicted flat on each plane
b)Round objects: Reflected light must be cast at the back of the dark-tone and tonal values must
be blended into each other on the planes.

2.
Exercise 3.5.
1. Two principles to observe when doing realistic painting are:
 Tonal values must be blended into each other
 Objects infront must cast shadow unto those behind
 Reflected lights must be created at the back of dark-tones on round objects
 Etc.
Exercise 3.6.
1. The four principles of composition drawing are:
 Every composition drawing must have a dominant object
 Composition drawing must also have a centre of interest or focal point
 A composition drawing must be done in a picture plane in which the foreground and the
background are demarcated with a horizon
 All relevant principles of design must be applied in a cmposition drawing
 Most compostion drawings must base on a specific theme.
2. Composition drawing slab, cube, prism and hemi-sphare:
Exercise 4.1.
1. The two competencies I acquired in the quick sketching exercise are:
 It has helped me to draw quick and sharp lines
 It has boosted my confidence in drawing
Exercise 4.2.
1. The challenges I encountered in the drawing, shading and painting of the objects are:

 Difficulty in blending tones with pen and pencil to achieve perfect gradation of tones

 Difficulty in mixing colours to obtain collect tonal values

 Difficulty in using brush to blend edges of tones into each other to achieve perfect gradation
of tones

 Difficulty in sketching objects to achieve perfect resemblance

Exercise 4.3.
1. Factors to observe when shading textures and patterns on plants are:
 First ignore he patterns and textures and shade the plant to achieve solidity before picking
out the textures and patterns.
 When shading the patterns and textures on the plant, shade them to reflect or harmonise with
the tonal values on the plant.
Exercise 4.4.
1. The two perspective drawing principles to observe when doing composition drawing and
rendering are:
 Objects must be drawn exactly as they are seen from their viewing point. For instance, some
objects must be forshorttened.
 Objects closer to the foreground must be drawn bigger and painted with brighter and intense
colour or tones.
 Objects closer to the horizon must be drawn smaller and painted with paler tones.

Exercise 4.5.
1. Depth and distance can be achieved in a composition drawing and painting as follows:
 Always apply the principles of linear perspective to draw object on the picture plane
 Always apply principles of aerial perspective to shade or paint objects on the picture plane
 Use blending technique to shade or paint the foreground and background to suggest distance

Exercise 4.6.
1. Two ways in which aerial perspective is applied in composition rendering are:
 Paint objects closer to the horizon with pale tones
 Paint objects closer to the foreground with brighter and intence tones

Glossary

Aerial perspective: A type of perspective drawing in which colours are used to achieve illusion
of depth and distance on a two-dimensional surface.

Blocking-in: An initial stage in drawing whereby the artist uses faint sharp and quick lines and
identified geometric shapes and forms in an object to plan a drawing. This helps to acieve good
balance and proportion in the drawing

Chiaroscuro: Dispersion of light on an object to create vary tones such as highlight, light-tone,
middle-tone, dark-tone and shadows.
Cone of vision: the maximum range in which an object can be seen clearly. The range is often 600.

Degreasing: A process of preparing the gound of a new metal sheet by wet brubing the surface of
the sheet with smooth emery clothe and white spirit to remove grease and dust contamination.

Foreshortening: A technique in perspective drawing in which the actual form of an object is

distorted based on the point of view of the object. Often fingers are represented and rythmic circles
when drawn from frontal view.

Ground: This refers to the prepared surface of a suport on which an artwork is executed.

Knoting: this is the process of treating knots and resin in hard woods by filling the knoty area with
shellack knoting or washing the entire surface with a chemical called acetone to neutralise the
resin.

Linear perspective: A type of perspective drawing in which lines are used to achieve illusion of
depth and distance on a two-dimensional surface.

Media: Materials that are used to producce a picture and which form part of the final picture.
Example, paint, ink, cancas, etc.

Priming: The process of applying a sharp coat of paint unto a bare substrate to improve adhession
of subsequent coats.

Rendering: The art of shading or painting a drawing to achieve solidity or realism.

Saponification: This is a defect in painting in which moisute activate alkaline in cement attack
the linseed oil(binder) in enamel paints chemically and convert it to a soft, sticky, brownish soapy
substance on the surface.

Sfumato: The art of blending tones into each other to achieve perfect gradation. The word has its
etymology from Greek.

Sizing: The process of apply sharp glue size unto the substrate of a fabric or paper to seal the
pores.

Support: The material on which paintings are executed. Examples are wood, metal fabric, paper,
cement walls, etc.
Thinning: The process of using a solvent to dilute a paint so as to break the consistency of the
paint to a workable consistency.

Thumbnail sketching: The art of using sharp faint lines in drawing.

Vanishing point: This is the convengent point of receding lines. It often occur in perspective
drawing.

Washing down: This is the process of using soapy water to wash the surface of a paited surface
in good condition to remove dirt before apply a finishing coat.

REFERENCES
Boddy-Evans, M. (2018). What Is Drawing? Retrieved 8th August, 2022 from:
https://www.liveabout.com/definition-of-drawing-2577536

britannica.com (2022). Drawing. Retrieved 6th August, 2022 from:

https://www.britannica.com/art/drawing-art

Fulcher, A., D. Tickle, B. Rholes, and W. Steward, (1998). Surface Preparations. Painting and
Decorating: An Information Manual, 4th ed. London: BSP Professional Books.

Goodier, J. A. (1990). Preparatory Materials. Dictionary of Painting and Decorating, 3rd ed,
London: Athenaeum Press Limited.

Goodier, J. A. (1990). Wood. Dictionary of Painting and Decorating, 3rd ed. London:
Athenaeum Press Ltd.

Agyarkoh E. (2017). Perspective Drawing. Graphic Communication design (First ed.). Cape
Coast. Pas-let Business Centre.

Amenuke, S. K., B. K. Dogbe, F. D. K. Asare, R. K. Ayiku, and A. Baffoe. (1999). Perception.

General Knowledge in Art for Senior Secondary Schools. Accra: Ministry of Education.

Erika Mendez. (2022). Scaled drawing. Retrieved. Sunday, 30th October, 2022 from General-
Scale-Drawings-Resource. Email: emendex13@msn .com

WRITTEN BY:
1. DR. ERIC AGYARKOH(Lead author), Communication design Lecturer
2. DR. JAMES EKOW APPIAH, (Supporting author) Sculpture Lecturer
Both at Department of Vocational and Technical Education(VOTEC),
Faculty of science and Technology Education,
College of Education Studies,
University of Cape Coast.