Baby Moccasins Pattern

The dotted

Vector image created with Inkscape by Laura Tolu

II hatching, parallel and cross, is used for centuries as a means to define the shape and texture in a drawing monochrome. In parallel dashed lines running precisely parallel to each other and in cross-hatching instead intersect to form a thin "screen" tone. With simple
vary the number and the distance between the lines you can get a huge range of tones, ranging from very dark to lighter. However, since the white paper was never deleted entirely, maintains a light tone which is one of the advantages of the technique. The lines themselves can also communicate energy and movement, especially when they run in different directions following the contours of the subject and describing its shape and volume.

The effect will be determined by the type of pencil used (hard or soft) as the shape that you take the tip, the type of paper as the degree of pressure that will be exercised, and finally the character of lines, depending which are strictly controlled and summary that is free. In this area of \u200b\u200bwork, for example, the artist has worked on large drawing paper hot press, smooth surface on which the thin pencil lines appear crisp and clean.

The technique of hatching takes time and requires a patient and methodical, but it gives a lot of satisfaction. It is important to add the features gradually until it reaches the desired intensity of tone. If tone escalates over too soon, the finished design may appear dark and heavy, so it is necessary to be patient when building shadows.

With this type of design is essential shaded constant reference to the subject, looking carefully at the shadows and evaluating each tone in relation to the next tone. Try to develop the design as a whole, gradually bringing the tone of the various parts of the composition in line gli uni con gli altri mentre si lavora.

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The Chiaroscuro



Immagine realizzata a matite colorate da Elisa Macis

 In arte, gli effetti di luce e ombra di un dipinto o di un disegno, sia monocromo che a colori. Il termine, che viene utilizzato nella forma italiana anche in altre lingue, deriva dai due aggettivi 'chiaro' e 'oscuro' e fa riferimento alla tecnica che tende a contrapporre aree molto illuminate ad altre profondamente ombreggiate.
L'abile utilizzo di luci e ombre (talvolta definite valori tonali) al fine di produrre effetti particolari è una caratteristica the works of sixteenth-century masters like Leonardo da Vinci (the creator of the 'gradient') and Raphael, and great seventeenth-century Baroque artists such as Caravaggio, Georges de La Tour and, above all, Rembrandt. The chiaroscuro technique is almost never present in non-Western arts or in the pre-Renaissance European.

"Chiaroscuro," Microsoft ® Encarta ® Online Encyclopedia 2008
http://it.encarta.msn.com © 1997-2008 Microsoft Corporation. All rights reserved.

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The fee Lisippo

Lisippo (Sicyon fourth century BC), greek sculptor. Edit

fees proportional to the representation of the human body determined by Policleto. The new rules by he developed the head size to correspond to one-eighth of the total, in addition, the frontal and static posture of the body was considered to be positive, and it was suggested a more natural dynamics of the torso and limbs.

"Lysippus," Microsoft ® Encarta ® Online Encyclopedia 2008
http://it.encarta.msn.com © 1997-2008 Microsoft Corporation. All rights reserved.

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modulor The Le Corbusier

Le Corbusier (Charles-Edouard Jeanneret) (1887-1965), French architect and urban planner
of Swiss origin, exerted a profound influence on the development of modern architecture and urbanism.

The modulor (1946) is a scale of quantities based on the golden rule already known to the ancient Greeks about the proportions of the human body: these measures must be used by all architects to build not only space but also shelves, supports, accesses that are perfectly in agreement with the standard measurements of the human body.

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Drawing with charcoal is perhaps the most ancient artistic technique that is known;
it dates back to prehistoric times, when primitive men covered the walls of caves
with drawings, mostly animals, made with pieces of charred wood.
Charcoal is in fact a "chalk" of charcoal made from thin branches
lightweight wood, porous per lo più di salice o di vite, che vengono bruciati senza
però raggiungere la combustione completa.

Il carboncino si usa per sfregamento e raggiunge neri molto intensi,
anche se poco stabili, che possono essere sfumati con le dita, ottenendo
una gamma completa di grigi. Il tratto può essere cancellato direttamente con
uno straccio o può essere sfumato con la gomma pane.

Vi sono carboncini di diverse dimensioni: con i più sottili si realizzano i contorni
e con i più grossi si ottiene un tratto più largo. L'intensità del nero è comunque
la stessa qualunque sia il diametro del carboncino. Esistono in commercio tre forme
di carboncino: a sezione round, square and triangular;
latter type is usually used for scenic designs.
The charcoal must be perfectly smooth and very soft;
lesser quality of the particles are generally harder to scratch the sheet.

Types of charcoal on the market
Surely one of the most famous companies producing charcoal drawing is
Faber-Castell we all know for pencils. This offers two types of products, charcoal drawing and the natural charcoal drawing.
The charcoal drawing is made from a mixture of fine coal dust,
a very intense black line suitable for large areas, is in 5 degrees of hardness
extra soft, soft, medium, hard, extra-hard. It 'also available dry charcoal pencil (medium, hard or soft).

The natural charcoal drawing by hand is produced from burning wood is not resinous anaerobic,
by a stretch rich black and is available in 4 different diameters: 4 mm, 6 mm, 9 mm, 12 mm.
It 'also available in black chalk pencil (soft, medium or hard).

pencils and charcoal to clay
addition there are the clays for artists that can be used directly in the form of a stick or pencil.
Among these are the famous blood. How to Paint


Before you start drawing with these materials is important to remember that it is very easy to get dirty view of the amount of dust that is produced, it is advisable for this reason hold the sheet slightly tilted to allow the powder to slip away (do not send it away with his hand otherwise the whole sheet!) . These materials have the feature to highlight the texture of the paper on which they are used, so depending on the effect you want to achieve, you can use a card more or less rough. You can also opt for colored sheets in order to introduce more color in the drawing.
The way you hold a pencil you can get a different sign, the important thing is to always start with very light because of the signs troppa pressione renderebbe la carta impastata di colore. Si possono creare delle sfumature con le dita, con la gomma pane o ancora meglio con un pennello rigido asciutto.
Una tecnica molto interessante è quella dei 'punti luminosi', consiste nel dare una base di colore molto leggera su tutto il foglio, eseguire tutto il disegno sopra e alla fine creare dei punti di luce cancellando il colore in eccesso.

Come pulire e conservare
Una volta finito il disegno è importantissimo usare un prodotto fissativo perché il lavoro rimanga intatto e non si sporchi toccandolo, attenzione però all'utilizzo del prodotto (seguite le istruzioni!). Una volta fissato il disegno non si potrà più modificare. I prodotti invece andranno possibly stored in a box, so they will not break and not dirty, if you do use your pencils clay just cover the tip with a little 'paper and tape, and keep them comfortably in a box.

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Charcoal Coloured pencils The fee

are formed by a mine consists of colored pigments finely ground and mixed with chemicals, then they are enclosed in a wooden pencils as normal can be circular or hexagonal. The colored pencils are very useful for line drawings and for additional adjustments are difficult to achieve with other mobility materiali.La tract, freshness and strength of color are the main features strumento.In of this market there are many shades and brand to brand pencils may be more or less smooth. There are also watercolor pencils that allow the water passing over the design to achieve an effect very similar to watercolors.

How to store:

can sharpen a pencil with a razor blade in order to give it the form we prefer or with a simple temperamatite.Le pencils should always be kept with the point upward, avoid dropping or them to take sharp shots that could break the lead inside the cylinder. A drawing made with crayons can cause stains and spots that can damage the surface and layout for this ragione i disegni finiti dovrebbero essere spruzzati con il fissativo.

Disegno a matita e matita colorata

realizzato da Valentina Sannais

Metodi di utilizzo:

Le matite colorate si possono usare come le matite ordinarie. Si comincia il disegno con uno schizzo molto leggero, e una volta definite tutte le parti si procede alla cura di ogni singolo particolare. Evitate di disegnare delle linee e riempire le zone racchiuse con un colore piatto, perché questo renderebbe il disegno piuttosto legnoso e poco realistico. Le ombre sono la parte più importante del disegno a matita sia in color or black and nero.Sono a tool simple enough to use and have the advantage of giving only a few strokes after the idea of \u200b\u200bthe finished design, which is very important for the draft or schizzi.In according to the paper you use is effects are possible. For a detailed and precise drawing shows the smooth paper, but if the grainy effect and what you want to get the card is fine ruvida.Quando pencils are used with great sweetness, you can easily erase the mark, but when the signs are stronger and leave stains on the paper hard to fill cavities and is therefore very important pre-establish the basic design before you start colorare.Essendo solid, and you can not mix color, two pencils to get a new color before using it. All of mixing colors with colored pencils on paper should be made.

Increasing the pressure of the stroke you will get the colors more vivid and bright, you get diminishing instead of colors. This is a good way to make a darker color without resorting to black very often creates a sense of dirt. The two shade colors, one on top is a good way to gradually make their mixture. Varying the pressure on one or both will change the color that results. Outlining different colors in the same direction, varying both the length and number of lines by increasing the distance between them and the pressure you can get good results. Another effective technique is to mix the colors of the cross hatches putting a color on the other.

To get different effects and colors try to vary the distance between the lines and the pressure on the pencil. The colors can be mixed, including by close to one another points or dashes. Although this technique requires a longer time to get a good result has a very nice final effect. Do not forget that there is also a white pencil, this combined with other colors creates a 'soft' ideal to fade ... but at the expense of brightness.

If you use the watercolor pencils, you can blend colors well by spraying with a water film. Colored pencils also have the advantage of being able to combine with other painting techniques, for example, can be used over colored patterns with tempera to create special effects.

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Fritsch

The fee proportional scientific Fritsch

If in the course of centuries, in every age, we can say that it is "invented" a fee of proportional representation for the human body, you might wonder if there is one really able to provide a universal reference point valid, perhaps capable of guiding us in front of the model without proportional relationships.
In fact there are several indications, that of Cousin to that of Paul Richer, but has greater founded and established by canon conceived by Fritsch, which was developed by the scholar in 1895 based on one of Schmidt 1849. The peculiarity of

Fritsch's canon is that the starting point for the construction of the human figure is not the head, but the spine, one segment of our body invariable for those in low for high frequencies. In both cases, the column will still be composed of 32/33 vertebrae.

The extension of the column, in fact, corresponds to the distance between the anterior nasal spine and the symphysis pubis. The plug
lies, in fact, on the same floor of the skull base and the symphysis to the coccyx bone.
Take therefore a segment AB (module) and divide it into four equal parts (sub-Ac, CD, C, OB). It extends the segment up to a sub-module and individuals il punto b che corrisponderà al bregma .
Dal punto c si conduca un segmento perpendicolare ad A-B della lunghezza di un sottomodulo e si individui un punto S. Si ripeta l'operazione dall'altra parte e si otterrà un punto S'. Dal punto B, invece, si faccia passare un segmento della lunghezza di un sottomodulo che incroci A-B perpendicolarmente sul proprio punto mediano. Chiameremo i due punti ottenuti C 'e C'.
Si congiunga ora S con C' e S' con C. Avremo così individuato i punti corrispondenti alle articolazioni scapolo-omerali (Sed S’) e coxo-femorali (Ce C). Il punto o corrisponderà all'ombelico. Dai punti S ed S'si originino ora due segmenti convergenti in A, che corrisponde alla spina nasale. Si costruisca ora un Ah segment around the square that this is one of the two diagonals of the square itself. The other diagonal necessarily perpendicular to the first, identify the points L and L ', which correspond to the maximum transverse diameter of the skull.
Now, from the point (c) by drawing a parallel segment to identify the segment that SA SC 'a (m) corresponding to the nipple. For the sake of symmetry, it is reported (m) on the CS segment 'm getting a point'. The distance between S and (m ') is the length of the arm. It is the compass points in S and opening it up to (m ') will return the length of G by identifying a point corresponding to the articulation of the elbow. The distance between (m) and (o) correspond a quella dell'avambraccio, mentre quella da (o) a C' sarà identica a quella della mano. Si riportino i segmenti individuando un punto P (polso) ed uno D (dita). Si uniscano ora il punto m con C ed m' con C'. La distanza complessiva fra i punti m e C' corrisponderà alla lunghezza della coscia, mentre quella fra m e C sarà il segmento della gamba.
Si riportino i segmenti individuando un punto R che indicherà la rotula e un punto 7" che indicherà l'articolazione tibio-tarsica. L'altezza del piede visto di fronte, corrisponderà a mezzo sottomodulo (T-v).