![]() Shading (making a surface lighter if it turns towards the light source, darker if it turns away) is actually a very common concept covered in most drawing courses, specifically as a means to convey how a form is 3D.ĭrawabox takes a different path. When thinking about detail, a lot of students end up trying to add shading to their drawings, relating detail to the act of simply making their drawing look pretty. Once you've done that, you'll go ahead and make a mark or two on your page to represent a specific feature you identified that you want to transfer over, and then you're going to go back to studying it - because your memory has already started throwing everything out the window. ![]() as well as how those elements are arranged. ![]() You're going to put a lot of time into really identifying the visual elements that exist on it, whatever makes it look wet, dry, sticky, smooth, rough, etc. What does that mean? It means you're going to have to spend most of your time looking at and studying an object, or some reference imagery of that object. Unfortunately most of the information you need to draw a texture is going to be considered unimportant. In all likelihood however, you're probably still not in a position to use that texture, because even if you looked at it a minute ago, your memory's still done its job and thrown away all of the superfluous details it didn't deem worthy of recording. That's fantastic, and you should absolutely keep that up. Okay, let's say you did for whatever reason really look closely and carefully at an object. That's normal, and it's how human brains - and specifically human memory - works. Sure, you've seen all kinds of textures in your daily life, but have you really taken any time to really look at them? In all likelihood, you saw them at a glance, your brain tucked the smallest bit of that information away while throwing away that which it deemed unimportant, and you went on with your life. Your brain doesn't simply start off with any real knowledge of all the kinds of textures that exist in the world, so you don't really have much to pull from when you're looking to add detail to a drawing. Now, before we get into why that matters, first we have to take a bit of a detour.īefore we even think about how to go about adding texture and detail to a drawing, we must first learn to slow down and observe. They cease to be an independent object, but rather become a part of this texture that can be applied to any other surface. If you were to strip down this fishy wallpaper and wrap it around a box instead, the fish would come along with it. The fish is now a part of the wall itself. If, however, you take a bunch of fish and use it to wallpaper your bedroom, it becomes a texture - and the way we draw it changes. We apply constructional means - drawing through our forms, defining their silhouettes with outlines, describing how their surfaces move through space with contour lines, etc. If you've got a fish swimming in the ocean, then we draw it similarly to how we draw the boxes and sausage forms we've tackled thus far. The only difference is that these forms adhere to the surface of some other object - and this difference fundamentally changes how we approach drawing it.Īn example I like to use is fish. While we treat it a little differently, texture is also made up of three dimensional forms. Texture - that is, what people tend to think of as detail - isn't actually all that different. ![]() This last point is something we'll focus on a great deal in the next section. Things with volume to them that occupy space and relate to one another in that space. Up until this point, we've largely explored matters relating to solid, three dimensional forms. ![]()
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