Illustration 10

Quarter 1
HISTORY OF
Module
2 ILLUSTRATION

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
Introductory Message

For the Facilitator:

Welcome to the Illustration 10 Self-Learning Module on History of Illustration!

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Illustration 10 Self-Learning Module on History of Illustration!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS
After completing this lesson, you should be able to:
1. Traceback the history of Illustration;
2. Explain the importance of gaining past illustration exercises for self-
improvement;
3. Create your prehistoric themed illustration.

PRETEST

1. Where can you find the earliest evidence of illustration?

a. Museum b. Printing Press c. Caves d. Pottery
2. Where did the first woodblock printing develop for printed text and illustration?
a. Africa b. Bulgaria c. China d. Europe
3. The following are Filipino artists except:
a. Amorsolo c. Juan Luna
b. Felix Ressurecion Hidalgo d. Leonardo Da Vinci
4. This is a type of illustration that uses bold and varying colors in creating a
biblical printout, it is known to be expensive and can’t be used for mass
reproduction.
a. woodblock print c. Batok
b. illuminated manuscript d. painting
5. It is the earliest recorded form of illustration in the Philippines that can be found
in the pottery culture
a. batok b. pintados c. manunggul jar d. cave paints

RECAP

TRUE OR FALSE. Write TRUE if the statement is correct, and FALSE if it tells
otherwise.
1. A person who practices or works in the drawing is called draftsman
or draughtsman or an illustrator.
2. An illustrator creates compositions using elements such as images
and typography or a combination of both.
3. An illustrator’s basic medium is manual artwork.
4. A person who has achieved a qualification in illustration NCII is
competent to be a cartoonist.
5. Scribing is a form of visual art that makes use of any number of
drawing instruments to mark a two-dimensional medium.
 LESSON
HISTORY OF ILLUSTRATION

In the art world, illustration has been thought of as less important than
graphic styles and fine arts.
Today, however, due to the expansion of graphic novels, video game
industries, magazine illustrations, and other publications, illustration has turned
into a valued art form, capable of participating in the global market.
Long before cameras were invented, early men find ways to express their ideas
with the help of graphical representations.
Early illustrations can be found in caves or
stonewalls, that shows their way of living and
customs. One good example is the Magura Cave in
Bulgaria, where the images show silhouettes of
women, males hunting and dancing. Earlier cave
drawings show their livelihood, that is why you will
notice that these illustrations’ subjects are mostly
livestock like cattle or bison, horses, etc. and their
hunting activities.
But the oldest cave illustration is the
https://en.wikipedia.org/wiki/Cave_of_Altamira#/
media/File:AltamiraBison.jpg Altamira Bison, found near the historic town of
Santillana del Mar in Cantabria, Spain, and dated
around 36,000 years ago.
Despite these early illustrations in the
paleolithic times, it is still unknown as of today the
real meaning behind these paintings. We can't
exactly trace back the history of printed colored
illustrations – the descendants of today’s but one
thing is for sure, that illustration is closely related
to the industrial processes of printing and
publishing. True to its origin illustration—in the
sense of illumination or enlightenment. To give
illumination to text and ideas into a visual concept.
Brizard, Marie. Cave paintings, Magura Cave
https://www.flickr.com/photos/mariebrizard/4387489763/
in/photostream/

Art researches trace

illustration from the East Asian
paintings, specifically the Chinese
because of the invention of the
printing machine with the use of
carved woodblocks, to mass-produce The intricate frontispiece of the Diamond Sutra from Tang Dynasty China,
illustrated materials for mass The world’s earliest dated printed book, AD 868
https://en.wikipedia.org/wiki/Woodblock_printing#/media/File:Jingangji
consumption. It may not be as fast as the European printing press, but it is clear
that printing developed in Asia several centuries before Europe.

Another popular woodblock

Illustration originated in Japan in the
1600s was known as Ukiyo-e, an
illustration style with expressive lines,
vivid color, and subtle tones, all from
the ink-brushed woodblock printing
technique. Hokusai's “ The Great
Wave of Kanazawa” is famous at this
time.
The rise of Christianity
imparted a different spirit and aim to
painting style, which paved the way in By After Katsushika Hokusai - Own work, Public Domain,

the development of illustrations in the middle ages, one way is by producing

illustrations with bold use of varying
color known as the Illuminated
Manuscript. Although this illustration
is hand-painted individually its purpose
to convert ideas and concepts into
drawings had served its purpose.
What’s captivating with this
kind of illustration is the use of gold,
but from a religious perspective, “the
diverse colors wherewith the book
illustrated, not unworthily represent
the multiple grace of heavenly
wisdom. But because of its complex
and frequently costly process, it was Opening from the “Hours of Catherine of Cleves” c 1440
By Meester van Catharina van Kleef - The Morgan Library
usually reserved for special books: & Museum, Public Domain,
an altar Bible for example. That is https://commons.wikimedia.org/w/index.php?curid=3997
509
why it cannot be reproduced for
mass consumption.
It was in the Renaissance
period, roughly the 14th through
the mid-17th century spurted the The Revelation of
St. John: 12. The
art of Illustration. Paintings in this Sea Monster and
the Beast with the
era reflect the revolution of Lamb’s Horn
Di Albrecht Dürer -
astronomy and geography, the Web Gallery of
Reformation, and the invention of Art: Immagine Info
about artwork,
the printing press. It is a period Pubblico dominio,
https://commons.wi
where artists are enticed to create kimedia.org/w/inde
x.php?curid=122553
artwork using woodcut 51
illustrations to reach more people
 to see their art. The printing press works
similarly as the Chinese woodblock but can print
Da Vinci’s Mona
multiple pages in text and illustration. One
Lisa prominent name in this field is Albrecht Durer,
With original colors who created remarkable print illustrations with
approximation
By Dianelos - Own biblical themes. Through these illustrated
work, CC BY-SA
4.0,
manuscripts, people began to understand the
https://commons.w
ikimedia.org/w/ind
contents of the prints, even though a lot of people
during that time can’t read.

In Italy, artists such as Paulo Uccello, Fra

Angelico, Piero Della Francesca Andrea Mantegna,
Filippo Lippi, Sandro Botticelli, Leonardo da Vinci,
The Scream
Michelangelo Buonarotti and Raphael took the
By Edvard painting to a higher level using perspective,
Munch -
http://www.ibi human anatomy, and proportions
blio.org/wm/p
aint/auth/mu
nch/munch.sc Moving on to the 19 Century, where Neo-
ream.jpg,
classicism, History painting, Romanticism
Impressionism, Post-impressionism, and
symbolism spurted when artists became liberated
from the demands of their patronage to only depict
religion, mythology, portraiture or history. In this
era, artists like Edvard Munch and Vincent van
Gogh began to express more of themselves in their
Starry Night
work.
By Vincent van
Gogh - In the publication division during the 19th
bgEuwDxel93-
Pg at Google century John Leech, George Cruikshank, Charles
Cultural
Institute, zoom Dickens’ illustrator Hablot Knight Browne, and a
level maximum,
Public Domain, French named Honore Daumier, contributed to
https://common
s.wikimedia.org
both satirical and serious publications. Because
/w/index.php?c at this time there was a great demand for
caricature showing social mores, types, and
classes, that leans to political comedy. The British
humorous magazine Punch was most influential in
the 1840s through the 1850s that coined the term
“cartoon” to describe humorous illustration.In the
Philippines, our art history is the combination of
Manunggul Jar
By Philip Maise -
many cultural influences, with strong Western
Own work, CC roots. The earliest illustration designs can be traced
BY-SA 3.0,
https://commons. back to the acclaimed Manunggul Jar, it is when
wikimedia.org/w/i
ndex.php?curid=3 pottery was practiced throughout the country. More
3685846
illustration pieces of evidence can also be found in
the tattoo tradition (Batok) of the Filipinos or as
referred to as Pintados.
 During the 17th century Filipinos created
paintings using European traditions forreligious
purposes. Between the 19th and the 20th-century
painting and illustration were a mixture of
Pintados
religious, political, and landscape artworks. https://en.wi
kipedia.org/w
Some prominent names in Filipino arts are Juan iki/Boxer_Co
dex#/media/
Luna, Felix Ressureccion Hidalgo,and Fernando File:Visayans
Amorsolo.
We also have our fair share when it
comes to cartoon illustrations, especially in
comics, or better know as Komiks. While the
first cartoons may be traced to Jose Rizal’s
illustration of the fable “Si Pagong at si
Matsing” the spread of Komiks popularity arise
during the early 20th Century. It was in the
1920s when Liwayway magazine began running
comic strip under the direction of Romualdo
Ramos and Tony Velasquez, such as the still-
running comics Mga Kabalbalan ni Kenkoy.
Although originally inspired by American
comics, Filipino literature such as komedya
and Philippine mythology was mixed with this
genre, such as Kulafu and Og (Tarzan), Darna
(Captain Marvel and Wonder woman). On the By Jose Rizal - Mga Akda ni Rizal (Works of
other hand, we also have more traditional Rizal) at e-learning of the National Historical
folklore comics like Dyesebel. Commission of the Philippines. File, Public
Domain,
The popularity of Philippine comics https://commons.wikimedia.org/w/index.p
hp?curid=43979479
today has long been dwindled due to
multimedia competition. Today, comic artists

had begun producing a manga like comics inspired by

Japanese animation and manga.

Promotional art work for

Mars Ravelo’s Darna.
Art by Ryan Orosco
By Source, Fair use,
 Illustration 10
Quarter 1
TYPES OF ILLUSTRATION
Module
3 AND STYLES V

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
Introductory Message

For the Facilitator:

Welcome to the Illustration 10 Self-Learning Module on Types of Illustration

and Styles!

This Self-Learning Module was collaboratively designed, developed and

reviewed by educators from the Schools Division Office of Pasig City headed by its
Officer-in-Charge Schools Division Superintendent, Ma. Evalou Concepcion A.
Agustin, in partnership with the City Government of Pasig through its mayor,
Honorable Victor Ma. Regis N. Sotto. The writers utilized the standards set by the K
to 12 Curriculum using the Most Essential Learning Competencies (MELC) in
developing this instructional resource.

This learning material hopes to engage the learners in guided and independent
learning activities at their own pace and time. Further, this also aims to help learners
acquire the needed 21st century skills especially the 5 Cs, namely: Communication,
Collaboration, Creativity, Critical Thinking, and Character while taking into
consideration their needs and circumstances.

In addition to the material in the main text, you will also see this box in the
body of the module:

Notes to the Teacher

This contains helpful tips or strategies that
will help you in guiding the learners.

As a facilitator you are expected to orient the learners on how to use this
module. You also need to keep track of the learners' progress while allowing them to
manage their own learning. Moreover, you are expected to encourage and assist the
learners as they do the tasks included in the module.
 For the Learner:

Welcome to the Illustration 10 Self-Learning Module on Types of Illustration

and Styles!

This module was designed to provide you with fun and meaningful
opportunities for guided and independent learning at your own pace and time. You
will be enabled to process the contents of the learning material while being an active
learner.

This module has the following parts and corresponding icons:

Expectations - This points to the set of knowledge and skills

that you will learn after completing the module.

Pretest - This measures your prior knowledge about the lesson

at hand.

Recap - This part of the module provides a review of concepts

and skills that you already know about a previous lesson.

Lesson - This section discusses the topic in the module.

Activities - This is a set of activities that you need to perform.

Wrap-Up - This section summarizes the concepts and

application of the lesson.

Valuing - This part integrates a desirable moral value in the

lesson.

Posttest - This measures how much you have learned from the
entire module.
 EXPECTATIONS

After completing this lesson, you should be able to:

1. Identify the different types of Illustration and Styles;
2. Evaluate what Illustration style you are comfortable to use in drawng;
3. Create an image composition with at least two styes of illustration.

PRETEST

FREE HAND TRADITIONAL

MODERN STYLE METAL ETCHING

PEN AND INK DIGITAL

Directions: Identify the following drawing styles. Choose from the word pool above.

1. Illustration is the oldest form of drawing dated back from the cave
walls.
2. is a method that uses strong acid to cut the metal surface to create
a design.
3. The illustration is a technique that uses lines to add details and
depth in an artwork.
4. In the modern times illustration makes use of graphic stylus on a
touch capacitive surface.
5. The category of illustration makes use of graphic software to create
design.

RECAP
MATCH: Match the names in column A with their proper description in column B

A B

1. batok a. An artist in the 19th century

2. illuminated manuscript who painted the “Starry Night”
3. Renaissance b. These are the traditional tattoos
4. Vincent Van Gogh of the early Filipinos
5. Printing press c. The invention of this machine Sparks the
advancement of illustration for mass
consumption
 d. These are expensive
illustrations made with
bold colors and gold
e. The century spurted the art of
illustration

LESSON

TYPES OF ILLUSTRATION

We’ve already discussed the different professions you may seek entry upon
completion of the Illustration NC course in grade 9, as well as the thin line between
the work of an Illustrator and a graphic designer. This time we will be learning about
the different types of illustrations you may want to explore to improve your
illustration skills.
To narrow down the types of illustration we can divide them into two
categories: Traditional Illustration and Digital/Modern Illustration, of course,
modern styles take advantage of different computer 2d and 3d software to achieve
the graphical result, while the traditional illustration is not confined with the regular
art tools and paper, there are a lot of traditional methods to produce illustration
results.

Traditional Illustration
This is the oldest type of illustration, this type existed way before the modern
civilization, and still existing today as a form of expressing ideas. From the cave walls
to the current style of digital illustration. Aside from the popular hand-drawn
technique with graphite pencil and paper, there are other traditional techniques.

1. Woodcut Illustration. This traditional method is the oldest in creating

illustrations, its popularity rose along with the invention of the printing press
to mass produce manuscript with text and images. It was first used in China
and made from carved woodblocks.
2. Metal etching. a method that uses a strong acid to cut the metal surface to
create a design.

WOOD CUT
ILLUSTRATION
By Anonymous - File:Le METAL ETCHING
bois Protat planche.jpg https://media.vam.ac.
and File:Le bois uk/feature/lightbox/v
Protat.jpg, Public 1/popup/cai646.jpg
Domain,
https://commons.wiki
media.org/w/index.ph
p?curid=26380175
3. Pencil Illustration. The most popular type of illustration process, where all
artist starts to create images. On its own, the pencil allows the artist to create
construction lines, shades, and effects. Comes in a variety of color or the
classic single-color lead.
4. Charcoal Illustrations. May not be as precise as the pencil, but with its matte
finish, texture, and blending property, many artists use this as a medium for
illustration especially quick portraits.

PENCIL CHARCOAL
ILLUSTRATION ILLUSTRATION
https://en.wikipedia.org By John Singer Sargent
/wiki/File:Edward_Law. - Internet, Public
_Pencil_drawing_by_H._ Domain,
https://commons.wiki
media.org/w/index.ph
p?curid=52567892

5. Watercolor illustration – this coloring technique creates shades and tone by

adding water. This may be the best technique when beginning to learn
blending colors, it is light but full of depth.
6. Gouache illustration – this type of illustration is the same as the watercolor
but with thicker and darker pigment. This is the best option than the
watercolor when you plan to rework a painting some years later.

GOUACHE
WATER COLOR ILLUSTRATION
ILLUSTRATION By Winslow Homer - The
https://www.flickr.c Metropolitan Museum of
om/photos/moonda Art, Public Domain,
nce38/1028049414 https://commons.wikime
3/ dia.org/w/index.php?curi
d=24198728

7. Acrylic illustration – this technique is much easier to work with than the
watercolor because of its flexibility. It can be used straight away or can be
thinned with water, and can achieve similar effects like oil and watercolor
8. Collage illustration – comes from the French coller, which means ‘to glue’. An
artwork technique by combining cut papers and pictures.
9. Pen and ink illustration – this illustration technique adds depth to
illustrations by using line, brush techniques, or a combination of both. India
ink, dip pens, and brush are some of the tools needed in this type of
illustration. Finer details are essential when doing a pen and ink to give
contrast to each element in the composition.
 COLLAGE PEN AND INK ILLUSTRATION
ILLUSTRATION Vincent van Gogh -
http://amarettogirl.sq arthistory.about.com, Public
uarespace.com/blog/2 Domain,
008/11/15/kat- https://commons.wikimedia.o
macleod-inspiring- rg/w/index.php?curid=107695
artist.html 89

Modern style Illustration

1. Freehand digital illustrations – these are software illustrations made to

mimic the traditional technique by using graphic tablets and pen/stylus or a
touch screen surface like the mobile phone. This illustration relies on the type
of software that you are using because of its available brushes for the
illustrator to use.
2. Vector graphics – these are graphic illustrations that do not loosen its quality
when scaled up, that is why this is the ideal medium for creating logos and
icons. Soft blending in vector software can’t be done because it only reads the
information in mathematical information rather than pixels.

Styles in Illustration

a. Concept art – includes illustrations for games and animations. The artist is
asked to create several concepts of a theme and present it before the client to
choose.
b. Children book illustrations – these illustrations are light and colorful to get
the attention of the age group it is intended to. Designs are cute and friendly
and directly conveys the idea of the book for children to understand the
content.
c. Comics/graphic novels – this illustration style should be fluid and shows
movement from one panel to another. It is a combination of images and text
to tell stories in a static form.
d. Books/publications/editorial – the purpose of this illustration style is to
attract the eyes of the reader and give an initial idea of what the publication
is all about.
e. Advertising – like the purpose of publication style, advertisement illustration
is meant to attract attention to compete with a photographic advertisement.
 Illustration 10
Quarter 1
SAFETY PROCEDURES WHEN
Module
HANDLING DRY DRAWING MEDIA
6

Writer: Raneth A. Yago

Editor: Ammeliza N. Vasquez
Reviewer: Janeth M. Pineda

EXPECTATIONS

After the end of the lesson, the student should be able to:

1. Describe the hazards and risks of dry drawing media to the artists' health;
2. Give importance on the proper ways of handling dry drawing media to avoid
health risks;
3. Create an art studio safety rules and regulations for handling dry drawing
media.

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 PRETEST

TRUE OR FALSE. Read each statement carefully. Write TRUE if the statement is
correct and FALSE if it is wrong, write your answer on the space provided before the
number.

1. Dry drawing media includes dust-creating media such as graphite,

charcoal, and pastels which are often fixed with aerosol spray fixatives.

2. Chalks are usually made from carbonized willow or vine sticks heated
without moisture.

3. NIOSH-approved respirator is equipped with vapor cartridges, dust

and mists filter to help protect against inhalation of solvent vapors and particles.

4. Always spray fixative by blowing air from your mouth through a tube.

5. The Labeling of Hazardous Art Materials Act (LHAMA) requires any

art materials to bear warning for health hazards and material toxicity.

RECAP
Let us have a quick review of how much you have learned about the last
module where “Safety procedures when Handling Pigments” was discussed.

Identification. Identify the following terms and write your answers on the space
provided before the number.

1. They are responsible in reporting all accidents, near misses, and

potential chemical exposure to the instructor immediately.

2. Along with violet, it is a rare color that symbolizes royalty during the
Middle Ages and the Renaissance.

3. In high amount, this pigment may cause skin ulceration and skin
allergies.

4. Having a habit of chewing your brush handle or fingernails while

working on an art project heightens what type of art risk?

5. Spraying and sanding techniques heightens the risk of .

 LESSON

SAFETY PROCEDURES
WHEN HANDLING DRY DRAWING MEDIA

In our last lesson, we’ve discussed art safety when handling pigments through
wet media like oil paints, acrylic, watercolor, gouache, etc. This includes the possible
health hazard these pigments may cause in large amounts.

In this lesson, we will be discussing the hazards and precautions when

handling dry drawing media.

Dry Drawing Media includes dust-creating media such as graphite, charcoal,

and pastels which are often fixed with aerosol spray fixatives and media such as
crayons and oil pastels which do not create clouds of dust.

HAZARDS:

1. Pencil cores though termed as pencil lead are not made of lead, rather they
are made with graphite and are not considered
a hazard. Colored pencil core has pigments
added to the graphite, but the amount are little
so that the risk of exposure is also low. In the
past, the only significant hazard in pencils was
from lead chromate paint on the outside of
yellow pencils. However, this has since
been eliminated as a risk. https://simple.wikipedia.org/wiki/Pencil

2. Charcoal is usually made from carbonized willow or vine sticks, heated

without moisture to create the black
color. Compressed charcoal sticks use resins to
bind and create color. Although charcoal is simply
thought of as a nuisance dust, inhalation of
enormous amounts of dust can create chronic
respiratory problems by clogging the airways.
Charcoal inhalation is a result of blowing
excess charcoal dust off the drawing instead of
By Mrs Scarborough - Own
using a dusting brush. work, Public Domain,
https://commons.wikimedia.
org/w/index.php?curid=2128
3. Colored chalks are also considered nuisance dust. 329
Some chalks are dustier than others.
Individuals who have asthma show

allergic reactions to chalk dust, but not the toxic kind.

 4. Pastel sticks and pencils are composed of
pigments bound with resin to have a solid
form. The major hazard of using pastel sticks is
inhalation because some pastels are dustier than
the others. Pastels may contain toxic pigments
like chrome yellow (lead chromate). Blowing
excess pastel dust off the drawing may cause
inhalation of pigments contained in it. Most in/4444705706/
Pastel artists often complained of blowing
different colors from their nose after using pastels, a clear indication of
pigment inhalation.

5. Crayons and oil pastels do not present an inhalation hazard, and thus are
much safer than pastels. Its only hazard is accidental ingestion.

6. Both permanent and workable spray fixatives used to fix drawings

on paper or canvas to prevent smudging contains toxic solvents.
Inhalation of the product is high because it is sprayed directly on
the drawing table or easel. This product may contain toxic
materials that are carcinogenic or can obstruct breathing.

7. Never try to spray fixative by blowing air from your mouth through
a tube. You might accidentally swallow the contents.

PRECAUTIONS:

1. Use the dustless variety of pastels, chalks, etc. Asthmatics might want to
switch to oil pastels or a similar non-dusty media. They can also use a face
mask to prevent accidental inhalation of materials.

2. Spray fixatives are ought to be used in a spray area

that exhausts to the outside but if exhaust fans are
not available in the studio, it is advised to do the fixing
outdoors with a NIOSH (National Institute for
Occupational Safety and Health)-approved respirator
equipped with vapor cartridges, dust and mists filter
for protection against the inhalation of solvent vapors
https://en.wikipedia.org/
and particles. wiki/NIOSH_air_filtration
3. Excess pastels and charcoals should not be blown _rating#/media/File:P100
_ovm_respirator.jpg
manually with your mouth. Instead, tap the built-up

dust so it falls on the floor. Ideally, it is best to use a dusting brush to remove
excess build-ups.

4. Use a wet mop or wet-wipes to clean all surfaces from dust.

 5. If the accidental inhalation of dust becomes a problem, a respirator may
beneeded.

International Art Regulations

With all identified health hazards about art and craft materials, a lot of artists are
switching to less toxic materials or find media made from organic materials, usually
the water-based types.

The Labeling of Hazardous Art Materials Act (LHAMA) requires any art
materials to bear warning for health hazards and material toxicity. All these
materials were reviewed by expert Board Certified Toxicologist.

To assure the materials that you’re buying is safe, look for the “conforms to ASTM
D-4236 certification” which means that all potentially hazardous compounds of the
art materials have been clearly labeled under the LHAMA standard.

Aside from the LHAMA certification, you can also search for the CE EN71 toys
certification European standard specifying safety requirements for toys. The EN 71
has thirteen (13) parts:
1. EN 71-1: Mechanical and physical properties
2. EN 71-2: Flammability
3. EN 71-3: Specification for migration of certain elements (chemical testing)
4. EN 71-4: Experimental sets for chemistry and related activities
5. EN 71-5: Chemical toys (sets) other than experimental sets
6. EN 71-6: Graphical symbols for age warning labeling
7. EN 71-7: Finger paints
8. EN 71-8: Swings, slides and similar activity toys for indoor and
outdoorfamily domestic use
9. EN 71-9: Organic chemical compounds – Requirement
10. EN 71-10: Organic chemical compounds – Sample preparation and
extraction
11. EN 71-11: Organic chemical compounds – Methods of analysis
12. EN 71-12: N-nitrosamines and N-Nitrosatable Substances
13. EN 71-13: Olfactory board games, cosmetic
kits,and gustative games
These parts apply to certain products depending on
their nature. Most suppliers test parts 1, 2, and 3- the most
important part of EN71.
 Illustration 10
Quarter 1
TOOLS AND MATERIALS IN
Module
DRAWING (PAPER AND PENCIL)
7

Writer: Raneth A. Yago

Editor: Ammeliza N. Vasquez
Reviewer: Janeth M. Pineda

EXPECTATIONS

After completing this lesson, the students should be able to:

1. Identify the factors to consider before buying drawing pencil and paper;
2. Explain the importance of having quality materials for an art project;
3. Compare pencil variations depending on HB scale and pencil pressure.

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 PRETEST

Multiple Choice. Read and understand the following question. Write the letter of
the correct answer on the space provided before the number.

1. What do you call the thin sheet of material produced by pressing

together moist fibers, like typically cellulose pulp derived from wood, rags or grasses
and drying them into flexible sheets?
a. Paper c. tooth
b. Pulp d. fiber
2. What do you call the surface texture of a drawing paper?
a. texture c. tooth
b. pulp d. fiber
3. These types of paper can withstand the test of time, it doesn’t turn
into yellow or gets brittle over time.
a. Bristol paper c. canson paper
b. Acid free d. cold press paper
4. The HB mark that you can find on pencils, stands for .
a. hard black c. hard bound
b. hard binder d. hard fine point black
5. These are wood-cased writing utensils containing pigment.
a. charcoal c. sanguine
b. pencil c. pastel

RECAP

Let’s have a quick review of our previous lesson in safety procedures when
handling dry drawing media. Write your answer on the space provided before the
number.

1. Includes dust-creating media such as graphite, charcoal, and

pastels which are often fixed with aerosol spray fixatives, and media such as crayons
and oil pastels which do not create clouds of dust.
2. This is the main risk of any dry drawing media with a little risk of
accidental ingestion.
3. This institution requires any art materials to bear warning for health
hazards and material toxicity.
4. The LHAMA awards certification to reviewed art
materials.
5. This is the institution that approves respirators for industrial use.
 LESSON

TOOLS AND MATERIALS IN DRAWING

(PAPER AND PENCIL)

When starting a drawing, there are a lot of things to consider when choosing
the tools and materials to use. Often an artist selects materials depending on the
type of drawing that they will make or the medium and techniques convenient when
creating an artwork. You may prefer watercolor art over graphite line drawings.
Over time you might want to try new mediums for drawing for personal and
creative growth. Fortunately, most drawing materials are relatively inexpensive and
can be used for a long period.
Materials needed for illustration are very simple. Of course, you need a tool
to make a mark on a surface and a medium to place those markings into basically,
pencils and paper. The rest is for enhancement and further expression of ideas into
art.
This is a three-part lesson on the different tools and materials in drawing, let’s
begin…

1. Paper. It is a thin sheet of material produced by pressing together moist fibers,

typically cellulose pulp derived from wood, rags or grasses, and drying them into
flexible sheets.
You need to invest in a few different pads of drawing paper if you work with
different drawing media. Drawing marks can be made on any paper surfaces but the
quality of that surface is as important as the drawing medium that is used. This is
the foundation of your artwork. Whatever concept you might think of or whatever
medium that you may want to use to represent that concept, it will all come down on
the surface that you draw it on – the paper.
Here are a few things to consider before buying a drawing surface. This will
greatly affect your final artwork…

a. The “tooth” - The “tooth” of the surface is the

texture of the paper. The texture of the paper plays
a big role in how the drawing media is accepted on
the surface. Heavier textures will produce lines that
may appear “broken”, while smoother textures will
produce smoother lines and gradations of value.
Paper with more “tooth” may be easier to make deep
marks on but will also be more difficult toerase.
http://mycreativelife2014.blogspot.com/2014/
The tooth or the texture of the paper depends 10/which-watercolor-paper-is-right-for-
on the manufacturing process. It can either be cold you.html
press, hot press, hand press, or no pressure at all.
 Cold press paper. It has lots of tooth or tiny bumps and grooves, that are
typically found in a watercolor paper where the water pigments can be easily
controlled. It must be remembered that watercolor papers are not held down
by water-based media, but you can still use it for pastel drawings or any media
that you may want to make use due to its texture.

Hot-press paper. It is the smoothest paper and is often used for pen and ink
illustrations and graphite sketching for more detailed work. The machine used
in this paper is heated, eliminating the coarse texture of the fibrous materials
of the drawing surface. This is the most popular paper texture.

Rough paper. This type of paper has a very heavy tooth, unlike the cold and
hot press they are made by flat pressing materials to create the paper. This
is good for heavy watercolor washes, because of its versatility in comparison
to cold press papers.

In general, fine point tools such as pencils (graphite or colored), pens, and
markers are most suitable with smoother paper while coarser-grained media such as
charcoal demands paper with more tooth, for easy application.
Most suitable for:
-pen - mechanical graphite pencils -oil pastel -charcoal
-marker pencils - colored pencils -conte crayon -pastel
-

https://helloartsy.com/wp-content/uploads/2014/06/paper-tooth.jpg

b. Paper Weight – The weight of the paper refers to how much a ream (500 sheets)
of that paper weighs. Often misunderstood, a paper’s weight is an indicator of how
thick that paper is- 500 sheets of watercolor paper will be heavier than a regular
office paper. The “heavier” the paper the thicker it is. Paper companies have tried to
phase in a smarter gauge (grams per square meter) but it hasn’t taken off. For most
papers, the weight of the paper will be directly related to its thickness. It should be
noted that some types of papers may have a heavier weight but can be thinner.

Paper weight Use

25lb (approx. 40gsm) Tracing paper
30 – 35 lb. (approx. 45-50 newsprint
gsm)
50 – 60 lb. (approx. 75- sketching or practice paper
90gsm)
Drawing paper suitable for finished artwork
70 – 80 lb (approx.100-
130gsm) in most media
Heavy-weight drawing paper, Bristol, multi-
90 – 110 lb. (approx. 180- media papers. The weight is like card stock
260gsm) or light poster board
 Used for painting rather than drawing. When
found in sketchbooks, these are usually
Heavier papers, up to 140
rougher papers intended as watercolor
lb.(approx. 300gsm)
journals or to be detached for painting on
individual sheets.
c. Acidity – Any drawing composition you make
and expect it to stand the test of time, should be
drawn in acid-free paper. Often, manufacturers
will proudly declare that their paper is “acid-
free” or “ph-neutral”. This paper will not yellow
over time, become brittle, or otherwise fall apart
and is more resistant to fading that can occur
when exposed to UV light.

Lower quality papers are often made from highly acidic wood pulp that
contains lignin that causes yellowing and brittleness of the paper over time.
On the other hand, the higher-quality paper is made from cotton or linen fibers
resistant to chemical breakdown.

Here are a few recommended papers that you might want to experiment with…

a. DRAWING PAPER- Medium tooth paper that is suited for drawing with a
variety of drawing media including graphite, charcoal, and colored pencils.
b. CHARCOAL PAPER - Heavier tooth paper that is lightweight – almost semi-
transparent. Excellent for creating texture. You can still use A variety of
drawing media on charcoal paper and not just charcoal.
c. BRISTOL PAPER - Smooth tooth paper that is heavier (think cardstock).
Excellent for creating smooth gradations, or detailed line work for pen and ink
illustration.

2. Pencils. These are wood-cased writing utensils containing pigment. The pigment
of the pencil core may be colored, pastel, charcoal, or graphite.
Graphite pencils are available in different grades, ranging from 9B the softest
to 9H the hardest. Soft graphite has less clay in it and they are darker than the H
graphite. Hard graphite has more clay in it and is lighter than B graphite.
There are two categories of graphite grading scales, used to measure the
hardness of a pencil’s core:

a. NUMERICAL GRAPHITE SCALE

The first graphite grading scale is the numeric scale. This scale measures the
hardness of the core and is often marked as a number on the pencil such as “2”, “2-
1/2”, “3” or “4”. Always remember that the higher the number the harder the pencil
core and the lighter the mark left on the paper.
As the pencil core becomes softer it leaves a darker mark as it deposits more
graphite on the paper. Softer pencils dull faster than hard graphite core and require
frequent sharpening.
The number scale is equivalent to the HB scale but in more general hardness.
The number 1 is equivalent to the B pencil and categorized as a soft pencil, number
2 is equivalent to HB and categorized as a “medium”, 3 and 4 are hard pencils and
are equivalent to H and 2H respectively.
 By Untitledmind72 at
English Wikipedia -
Transferred from
NUMERIC SCALE en.wikipedia to Commons
by Sreejithk2000 using
CommonsHelper
b. HB GRAPHITE SCALE
Most pencil manufacturers outside of the U.S. use this scale, making use of
letters instead of numbers such as, “H” to indicate a hard point pencil, “B” to
designate the blackness of the pencil’s mark, indicating a softer lead and the letter
“F”, to indicate that the pencil sharpens to a fine point.
Pencil makers also make use of letter combinations to tell us about the
graphite. For example, a pencil marked “HB” is hard and black, a pencil marked
“HH” is very hard, and a pencil marked “BBB” is very black.
Today, most pencils using the HB system are designated with a number such
as 2B, 4B, or 2H to indicate the degree of hardness. In the H scale, the higher the
number, the harder the core. In the B scale, the higher the number the softer and
darker the graphite core.
 Illustration 10
Quarter 1
TOOLS AND MATERIALS IN DRAWING
Module (ERASING, BLENDING, SHARPENING
9 AND POINT SHAPING TOOLS)

Writer: Raneth A. Yago

Editor: Ammeliza N. Vasquez
Reviewer: Janeth M. Pineda

EXPECTATIONS

After completing this lesson, the student should be able to:

1. Identify the tools and materials used for erasing, blending, sharpening and
point shaping;

2. Discuss how these tools would help in enhancing an illustration;

3. Create an illustration emphasizing the use of erasers, blending stumps and

point shaping tools.

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 PRETEST

Direction: Identify the following concepts. Choose from the words inside the box.
Write your answer on the space provided before the number.

Single edge razor sharpener gum eraser

eraser blending stump sandpaper block

1. What do you call the tool used for removing pencil marks and can
also be a great mark-making tool?

2. This eraser is great for removing media from surfaces that are
sensitive to tearing.

3. These are made of tightly spiral-wound, soft gray paper with two tips
used for smudging media on the drawing surface.

4. This tool is used to shape a sharpened point of a pencil or charcoal

and can also be used to shave off charcoal or graphite into powder for blending larger
areas.
5. This is the mechanical way of sharpening your drawing media for
more customized sharpening.

RECAP

Let’s have a quick review of our previous lesson about pencil pressure,
points, and grips.

Identification. Identify the following concepts and terms. Write your answer
on the space provided before the number.
1. What do you call the painful condition of the hand and fingers
caused by repeated flexing and stressing of muscle and joints?
2. What type of grip is best for holding the graphic tablet stylus?
3. What kind of pencil technique that relies on the hardness
point you apply on it when drawing?
4. What kind of grip that is most preferred for basic drawing?
5. What type of pencil tip will produce less refined marks and is
good for shading?
 LESSON

TOOLS AND MATERIALS IN DRAWING

(Erasing, Blending, Sharpening and Point Shaping Tools)

We are now in the last part of our three-part lesson in tools and materials
when drawing. In this module, we will further discuss the other essential tools when
creating an illustration. These tools, unlike the pencil which creates a mark are used
to enhance but artwork. Even though these tools cannot create a mark on a surface,
they can be used to produce desirable and artistic results. Let's begin…

1. Erasers
Erasers are for removing pencil marks, but it can also be a great mark-
making tool as well. Each eraser leaves a different mark and should be used
specifically to a drawing medium to get the best result. You must consider also the
type of paper surface you are using when choosing the eraser to use.

Here are a few recommended erasers that you can try during your course in
illustration…
a. Rubber Eraser – Your standard
eraser for erasing graphite. This type of eraser
uses friction to remove marks on the drawing
surface.
b. Kneadable Eraser – This eraser lifts
material from the surface instead of using
friction to remove it. It can be pulled and
molded into different forms for detailed erasing
or marking. This eraser, like other erasers,
gets dirty but it can be cleaned by pulling and
“kneading” it.
c. Gum Eraser – This eraser is great
for removing media from surfaces that are
sensitive to tearing. A gum eraser removes the
medium through friction but crumbles as it
https://www.amazon.com/
does to preserve the surface. dp/B0006ZELR2?th=1
d. Vinyl or Plastic Erasers – This
eraser is the toughest of the bunch. It can
erase almost anything. Just be careful when
using this eraser, as it can tear the paper if
you’re not careful.
 Aside from the aforementioned eraser, the following erasers especially the vinyl
type, comes in different sizes suitable for detailing works as a marking but nota
correcting tool. It saves you the time of cutting vinyl or gum erasers to get sharp and
small edges. They come in a pen-like form, both manual (peel-off pencil type,wood-
cased type, retractable pen type) and electric (battery operated erasers).

https://www.g-mark.org/award/describe/34383

2. Blending Stumps/tortillons
This is very essential for artists wanting to smudge or blend the medium on
the drawing surface. A blending stump allows the
artist to create tones and drawing value without
smudging oils from the finger (through finger
smudging) which can make a drawing look overly
smudged and uncontrolled. shading stump and tortillon
a. Shading Stumps: Comes in different sizes,
shading stump vs
marked with numbers from smallest to largest. tortillon
It’s not necessary to buy all variety of shading
stumps, just one small, medium, and large Shading stump#7
stumps will be enough. These stumps are made
of tightly spiral-wound, soft gray paper with two
tips. You can use them for smoothing and
blending large areas of pastel or charcoal or Tortillon#7

graphite.

b. Tortillons: Comes in Small 3/16" Medium 1/4" Large 5/16". Tortillons are
used for smoothing and blending pastel and charcoal and for detailed stumping.
They are spiral wound with one pointed end and usually hollow at the center. It
has longer tip than blending stumps for smudging.
Some artists prefer dry brushes for blending charcoal or graphite because they
prefer to smudge the media in an area rather than dragging the material across the
paper. Remember, it’s entirely the artist's preference on what type of blending tools
he will use. For cheaper variation, you can use
cotton swabs or tissue for blending

3. Chamois Cloth – often called the chamois

leather, it is approximately 5" x 7" and is good for
blending and changing the tone of large areas of
charcoal or crayon. It blends the charcoal more
softly and cleanly than the artist's fingers, which
can leave smudges. You can also use this to
apply powdered drawing media like charcoal and By Johan - Own work, CC BY-SA 3.0,
https://commons.wikimedia.org/w/index.
graphite. php?curid=1042436
4. Sharpening and Point Shaping tools – these tools are mainly used for drawing
materials encased in wood like the pencil and colored pencils as well as the pencil
type variety of charcoal, sanguine, pastel, and eraser. To sharpen your drawing
media, you can either do it mechanically or manually. Here are some tools in the
sharpening and point shaping category of drawing materials…
a. Sandpaper Block - Sandpaper is a simple way to keep a point on difficult-to-
sharpen drawing pencils, charcoal, pastels, or crayons. This will create various
types of points not possible with a
pencil sharpener. It can also be used to
shave off charcoal or graphite into powder
for blending larger areas.
sandpaper block
b. Single Edge Razor Blades – This is the
mechanical way of sharpening your drawing media. For more customized
sharpening (see module 8).
single edge razor

c. Pencil Sharpener- these can be the small

sharpeners with a single or double hole, like
the mechanical ones and electric types.
d. Brown Paper Bag - Used for pencil and
sharpener
graphite dust from sanding and shaping so
you won't have to leave your seat when sharpening or shaping your wood-
cased media.

5. Miscellaneous Materials
Aside from the above materials, there are also optional materials
that you may consider investing in.
a. Workable Matte Fixative - Fixative gives lasting protection to
pencil, charcoal and chalk, yet erases easily. Workable fixative is
easy to work with, dries in seconds and does not wrinkle, smudge or
smear. Be sure to follow safety rules when using spray fixatives.

b. 12 in Ruler. This can be used to create straight lines and borders.

c. Artist Masking Tape. This is used to tape your drawing paper in the
drawing table to provide stability when drawing. This type of tape doesn’t tear
the paper surface which is why it is popular in pastel and water painting.

d. Sketch Boards for 18 x 24 Pad- The pad is secured by

a heavy clip and a rubber band at the bottom for easy
transport. The board is made of 1/8" thick Masonite and
is very lightweight. This a portable drawing table that clips
paper rather than taping, a safer way to preserve thepaper
surface.
https://www.ebay.com/p/1536
913107?iid=400819480736
 e. Woodless Pencil: These are graphite pencils without wood on the
outsidebut a coating outside to prevent the woodless graphite
smudging of your finger. Unlike
traditional graphite pencils, they come in
only softer forms HB, 2B, 4B, 6B, and 8B.
This sums up our lesson in the different
toolsand materials in
illustration. The following
activities will test how much you have learned in this module.
 Illustration 10
Quarter 1
CONTOUR LINE DRAWING
Module
11 TECHNIQUES

Writer: Raneth A. Yago

Editor: Rona A. Yago
Reviewer: Janeth M. Pineda

EXPECTATIONS

After completing this lesson, the students should be able to:

1. Illustrate the contour line drawings used in illustration;

2. Differentiate the techniques in contour line drawing;
3. Draw contour line illustration following the correct steps and techniques.

T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 PRETEST

Direction: Write T if the statement below is true and F if it is false. Write your
answer on the space provided before the number.

1. A contour line drawing defines a figure or an object’s visible edge,

shape or silhouette or simply an “outline drawing”, no shading no fined details, just
the whole form of the subject.
2. Cross contour drawing technique forces your eyes to study the subject
closely while your hands mimic your eye movement.
3. The continuous line drawing technique is a contour drawing
technique done without picking your pencil off the paper.
4. Cross contour lines should not follow the rules of perspective.
5. Contour line drawing helps artists eyes to draw what he sees and not
what he knows

RECAP

Identification. Name the lines used in the following illustrations and paintings.
Write your answer on the spaces provided below:

1. 2.

3. 4.

5.
 LESSON

CONTOUR LINE DRAWING TECHNIQUES

As stated from our last lesson, when we begin drawing the first thing that we
do after picking up a pencil is to create a line. Lines direct the viewers’ eyes on the
important parts of an illustration to help express the artist’s idea and concept.
Therefore, improving your line drawing techniques and structure will improve your
drawing skills.

In this lesson, we will discuss the most basic technique in line drawing—the
contour lines. Contour line drawing is not just stage when beginning drawing but
should be done every day to improve hand and eye coordination. This is a best warm
up exercise before beginning drawing. Let’s begin…

Contour Line Drawing

What better way to start drawing than to begin with the edges before
proceeding to details of tones, values and color. A contour line drawing defines a
figure or an object’s visible edge, shape or silhouette or simply an “outline drawing”.
No shading, no fined details, just the whole form of the subject. It is drawing a picture
in a general view.

The term ‘contour’ is a French word for outline. The goal of artist making
contour line drawing is to look intently at the EDGES of an object. It is likely that
when you first started drawing you have been doing contour lines, you just don’t
know it by then.

When drawing for the first time, artists tend to be overwhelmed with the model
or subject they are working on, especially when it comes to figure drawing. However,
perceiving subjects as lines to mimic will help break the notion that drawing figures
are hard. Contour line drawing helps artists’ eyes to draw what he sees and not what
he knows. It will help you forget that you are drawing a figure and just focus on the
shapes and lines that make up an object.

Let’s look at the following drawing example:

Image A

By Evan-Amos - Own work, CC BY-SA 3.0,

https://commons.wikimedia.org/w/index.
php?curid=18948673
 Image B

The student was asked to draw a hand from a model. When starting out with
drawing, outputs will probably end up like Image A which shows a hand with
sausages for fingers. Perhaps, the artist’s mind is wanting to draw something with
elongated limbs to mimic the palm and fingers. But then seeing what you are drawing
is different with just wanting to draw alone. If you would look closely at the model,
you will find that there are contours around the edges, from the palm to the tips of
the fingers (Image B). When you are able to break down your subject into contours
and shapes, it will make you appreciate the unique qualities of your drawing
subjects, thus the easier it is to draw. After all, it’s not hard to draw lines and shapes
since every possible subject are just lines and shapes if you know how draw from
what you are seeing.

Types of contour line drawing

1. Blind contour. This line drawing contains lines that

are drawn without looking at the paper at all. This
technique forces your eyes to study the subject closely
while your hands mimic your eye movement. This is the
best way to learn from what you see. Your first output in
this drawing technique may look funny at first and you
may have the urge to look at your paper. It is okay to stop
and start anywhere near where you left your last stroke https://flic.kr/p/3WWsA
without looking at the paper.

Remember to refrain from using scribbled lines. The key here is to focus on
the subject, you must follow both the outside and the inside contours without
looking.

Steps:
1. Set up your work area and ready your drawing pencil and paper. Choosea
subject to draw.

2. Ready your drawing pencil and paper. Place your pencil on the initial
position in your paper and look at your drawing subject. Pick a point in
your subject where the eyes will begin the contour exercise. It is best to
fasten you
drawing paper
to prevent it
from moving
around.
 3. When your eyes begin to move, so is your hand holding the pencil. Strictly
do not look at your hands as you draw and try not to lift the pencil off the
paper until you are done drawing the subject.

4. As much as possible use continuous lines, keep it fluid and avoid

scribbling the marks you are making as you go.

5. Follow both the inside and the outside contours of the subject.

Do not be concerned about how your drawing will "look." This is an important
exercise in "seeing”. You will be drawing the object(s) as you see them, not as you
think you know them. Do not judge this drawing by the standards you usually use
to assess your drawings.

2. Modified Blind Contour. This technique is the same

as blind contour drawing but this time you can look at
your paper from time to time and pick up your pencil then
continue with drawing. You can also use multiple lines
instead of one.

https://flic.kr/p/8HqbHm
Steps:
1. You will start the drawing by placing or posing the drawing subject in an
interesting but comfortable position in front of you.

2. Look at a point on your subject where you are going to start the drawing.
Look at your paper and place your pencil on your paper in that position.

3. Now look back at the subject you are drawing from and begin to move your
eyes along the contour as you move your pencil on the paper. Do not look
at your paper.

4. Move the pencil on the paper imagining that the pencil point is touching
the subject you are drawing.

5. Trace this first contour of your subject in every detail; feel it as you draw.
Don’t look at your paper after placing your pencil in its initial position.

6. When you have finished the first line, look at your paper and place the
pencil in position to draw the second line. After placing the pencil at the
starting point of the second line, look only at the subject you are drawing
and again imagine your pencil following all the details of that line.

7. Draw each succeeding contour with this technique of drawing blind while
you feel the form.
8. Keep repeating this process until you complete the contour drawing of your
subject.
 Do not worry about the idea of drawing good as much as worrying about
distortion or mistakes in your drawing. This exercise will take a great deal of
concentration and it is almost impossible to do a perfect drawing in this technique.

3. Continuous line contour. This is a

contour drawing technique done without
picking your pencil off the paper. You can draw
this contour technique with or without looking
at your paper. The simple rule in thistechnique
is never lift your pencil once you started
drawing, no erasures and don’t stop until you
are done with the illustration. https://isabellasmithh.tumblr.com/post/5
7697614826/more-continuous-line-
drawings-of-people-on-my
4. Cross contour. These are lines that travel

across the subject’s form. It follows the form of the

subject’s surface using curved parallel lines. The
contour lines in this line technique are implied lines
that may or may not be visible in the model. It’s up
to the artist’s eyes to perceive implied lines into real
lines when drawing. This technique suggests the
three-dimensional form of a subject. Cross contour
lines follow the rules of perspective; the further the https://www.deviantart.com/ivory-
bell/art/Conch-Cross-Contour-65328520
lines to the eyes the closer it is drawn together.
 Remember that contour line drawing are artworks made of lines, that is why
shadings are not required for finishing touches.

The activities in the next section will test how much have you learned about
the steps on how to create contour line drawings, prepare your pencil and let’s start
drawing.
Illustration 10
Quarter 1
SHAPE, FORM AND VALUE
Module
12 AS ELEMENTS OF ART

Writer: Raneth A. Yago

Editor: Rona A. Yago
Reviewer: Janeth M. Pineda

EXPECTATIONS

After completing this lesson, the student should be able to:

1. Identify and define shapes, forms, and values as an element of art;

2. Explain the importance of shapes, forms, and value in an artwork;
3. Transform shapes into forms by adding an illusion of depth using tonal value.
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 PRETEST

Direction: Write True if the statement below is correct and False if it tells otherwise.
Write your answer on the space provided before the number.

1. There are numerous shapes and forms around us, but it only falls in
two categories – geometric and organic.
2. Value is a basic element of art that refers to the gradual change of
lightness or darkness of a tone or color.
3. A low contrast artwork contains a lot tonal range from light to dark
and gray tones in between.
4. When a shaped gets a third dimension of depth it creates an element
of art called form.
5. Italian madonnari created 3D pavement art that exists up to this day.

RECAP
Let’s have a quick review of how much you have learned from our last module
“Contour Line Drawing Techniques”

Identification. Fill in the missing terms and concepts to complete the following
statement. Write your answer on the space provided below.
1. Cross contour lines follows the form of the subject’s surface using curved
lines.

2. The contour is the same as blind contour drawing but

this time you can look at your paper from time to time and pick up your pencil then
continue with drawing.

3. The goal of artist making contour line drawing is to look intently at the
of an object.

4. The contour drawing technique requires the artist to draw

without lifting the pen on the paper.

5. drawing contains lines that are drawn without looking at the

paper at all.
 LESSON

THE SHAPE, FORM AND VALUE

AS AN ELEMENT OF ART

In our previous lesson, we have discussed the first of the seven elements of
art – the line. When starting out with drawing we create lines, when these lines’
starting point connects to its end or intersects, we create shapes. We then can take
it further by adding an element called tonal values to create another element called
as the form or a three-dimensional representation of an object. Studying still life
drawing is the best way to learn how artists perceive shapes, value, and form. In this
lesson we will take the lines into a whole new level of artistic creation. Let’s begin…

Element of Art – Shape. This is an element of art that represents the form, edge or
boundary of an object. A shape may have a real line around it or an implied line in
contrast to the backgrounds color or texture qualities. We can identify shapes
according to its properties.

Properties of Shape

We usually think of a shape as a closed contour

that is when a line is enclosed a shape is created.
Shapes play important role in the arwork
creation. It helps to breakdown complex elements into simple and basic forms.
All shapes are flat and defined by their width and height, meaning they are
two-dimensional. Shapes and lines are two elements that are often used together.
There are numerous numbers of shapes around us and it all falls downs into two
categories: geometric and organic.

Categories of Shape

1. Geometric shapes or regular shapes are easy to recognize. These are the
shapes that we learn from our Mathematics
class. Generally, these shapes have aspecific
name associated with them (e.g. circle,
triangle, square, pentagon, etc.)

2. Organic or freeform shapes are

shapes that follow no rules and are irregular
or asymmetrical. Unlike geometric shapes, these shapes do not have a name
associated with them. These shapes are natural shapes like the clouds or a silhouette
of a tree. We usually name these shapes according to its actual name.
Shapes in drawing composition
With correct organization of geometric and organic shapes, we can draw
anything. Even complicated objects become easy to draw when we isolate organic
shapes into basic geometric shapes. As we proceed with our drawing lessons,
beginning artists are often asked to break the subject into basic shapes. Although
subjects for drawing are inorganic, with the right way of seeing the model we can
break it down to cover all details and proportions. Artists’ approach on how to
perceive shapes depends in their method; either by using real lines to define the
edges like in pen drawing or soft implied lines like in paintings.

Still life and human figure illustrations can’t be accomplished with flat
drawings alone and so we give life to it by adding tonal values to create three-
dimensional illusion.
Form is an element of art that is three dimensional, but before we proceed
with it, let’s first discuss value. Without value it is impossible to give flat objects a
form of a three-dimensional illusion.

Element of Art – Value

Value directly deals with light. We see things because light reflects off the
surface of an object to our eyes. When it comes to drawing seeing is everything and
being able to understand how light interacts with the surface of a subject is another
thing.
Artists create the illusion of light by producing a range of tonal and color
values. Value is a basic element of art that refers to the gradual change of lightness
or darkness of a tone or color. It is created when a light source shines upon an object
creating gradients from pure white to absolute black with a range of gray tone in
between.

By Oliver Harrison - Directly from the creator, CC BY 2.5, https://commons.wikimedia.org/w/index.php?curid=20226111

The same is true with colors, lightening and darkening the hue creates tonal
values. This is achieved either by adding white or black to the color.

https://betterfigures.org/2015/06/23/picking-a-colour-scale-for-scientific-graphics/
Value creates contrast and adds emphasis on the specific areas of an artwork.
High contrast occurs when there are a few tonal values from white to dark like in
image A. A low contrast artwork on the other hand, contains a lot tonal range from
light to dark, see image B.
 IMAGE A IMAGE B
https://flic.kr/p/Riwt6e https://flic.kr/p/9x1C6g

Contrasts gives an opportunity for artist to set the mood in their artworks.
High contrast artworks give off a depressing, sad, or mysterious mood. While low
contrast artworks contain light and happy mood. Using both contrast levels can
create dramatic and exciting moods.
The surface texture of the subject also affects how light behaves in an object.
It is up to the artist how to capture this subtle contrast of texture to help the viewers
perceive value in the artwork.
Abhijit Tembhekar from
Mumbai, India / CC BY
(https://creativecommons.or
https://pxhere.co g/licenses/by/2.0)
m/en/photo/9816
62

Adding value to a shape will now result in another element of art that we call
Form.

Element of Art - Form

When a shaped gets a third dimension of depth it creates an element of art
called form. Therefore, forms are simply shapes or objects that are three-dimensional
or simply 3D. Form is defined by its length, width, and height.
Everything around us are made up of a form. As artists, we must have a strong
understanding of form and how to create the illusion of form in drawings and
paintings.

Shapes

Form

Forms like lines, can be real and implied. Real forms take up three-
dimensional space like in sculptures which can be viewed from all sides. On the other
hand, implied forms can be observed in paintings where the depth is created through
an illusion of volume.

http://jeewangallery
.blogspot.com/2012
/02/3d-street-art-
by-kurt-
https://pxhere.
com/en/photo/
1263711
 Creating high contrast to painted or drawing artworks creates a strong sense
of depth. This is specially found in 3d street art of realistic drawings and painting.
Playing with light and its behavior on a surface allows the artist to achieve
illustrations that can fool the eye.
The earliest form of street art can be traced back in 16th
Century Europe, were Italian madonnari create visual arts in the
streets to pay homage to the Madonna.
Their arts were painted directly on the paved public square using
chalk, brick, charcoal, and colored stones. They were called
madonnari after their practice of reproducing images of the
Madonna (St. Mary).
Fast forward in 1982 Kurt Wenner combined modern art
and street art, producing a well-known technique today—the
http://thesharkox.blog
3D pavement art. Every 3D pavement art that exist to this day spot.com/2010/10/ku
traces their origin to Kurt Wenner’s work of innovating rt-wenner-yang-
cool.html
geometry pavement art.

The Definition of Form

The form is an element of art with three dimensions. It is a shape with added
height or depth. There are numerous forms around us but it all falls down into two
categories: geometric and organic like the shapes.

Categories of Shapes
1. Geometric forms, like shapes, have specific
mathematical names associated with them. Geometric
forms are often found in architectural environment or
artwork.
2. Organic forms are forms that are irregular or asymmetrical.
Unlike geometric forms, it’s not easily measured or named.
Like organic shapes we usually name these organic forms
according to its actual name. Like the form of an animal or a
flower.

Forms in drawing composition

The goal in art is to fool the viewers’ eyes to give them the idea of depth through
implied values in order to create form. Although paper and pencil illustration can
only create two dimensional outputs, it’s up to the technique of the artist to provide
this illusion.
To make an artwork more realistic you can also apply the five elements of
shading to achieve the illusion of depth.

The Elements of Shading

There are a lot of shading techniques to help an artwork come alive.
As we have mentioned before, light reacts on the surface of the object differently.
Capturing this light behavior and incorporating it to an artwork will result in the
illusion of form. Let’s simplify each using a smooth surface with one light source.
Study each part and try to use the shading element the next time you create and
artwork.
a. The highlight is the nearest area to the light source
and the whitest of the other shades.
b. The mid-tone is the middle gray part of the object. It
is in between the core shadow and the highlight.
c. The core shadow is the area(s) that is the farthest part
of the object and shaded darker than the mid-tone.
d. The cast shadow is the area(s) that is shaded on
surrounding objects and surfaces, it falls opposite to the light source.
e. The reflected light is the light grey tone found along the edge of an object. It
separates the cast shadow and core shadow at the edge of the object.
Illustration 10
Quarter 1

Module LINE DRAWING TECHNIQUES (HATCHING,CROSS HATCING,

CONTOUR HATCHING)
13
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 EXPECTATIONS
After completing this lesson, the students should be able to:
1. Identify the different line drawing techniques to create shading and texture in
an artwork;
2. Explain how each line drawing technique add tones and value to an artwork;
3. Create artwork using line drawing techniques as shadings or a texture
illusion.

PRETEST
Direction: Fill in the blanks with the correct word/s to complete the following
statements. Choose from the word pool below. Write down your answer on the space
provided.

1. When shading an artwork, the artist main goal is to produce an illusion of

.
2. are artworks that can be a sketch or can look like a sketch but can
stand on its own.
3. is an artistic technique used to create tonal effects by drawing closely
spaced parallel lines.
4. Cross-hatching is a line drawing method that creates tones by drawing alternating
sets of lines that intersects each other forming a pattern.
5. Contour hatching is an artistic technique that follows the of the
subject when creating line shadings.
Hatching contour cross hatching
Criss cross depth line drawing

RECAP
Direction: Write True if the statement below is correct and False if it tells otherwise.
Write your answer before the number.

1. There are numerous shapes and forms around us, but it only falls
into two categories – geometric and organic.
2. Value is a basic element of art that refers to the gradual change of
lightness or darkness of a tone or color.
3. A low contrast artwork contains a lot of tonal range from light to dark
and gray tones in between.
4. When a shape gets a third dimension of depth it creates an element
of art called form.
5. Italian madonnari created 3D pavement art that exists up to this day.
 LESSON

LINE DRAWING TECHNIQUES

(Hatching, Cross Hatching, Contour Hatching)
We’ve now reached the Illustration NC 2 core competency—the Use of lines to
produce an illusion of volume. What we have discussed so far is creating values and
form with the smudging technique using a soft pencil and blending tools. Since our
main goal is to produce illustrations with lines as a tool for creating an illusion of
depth, you need to practice line accuracy and precision. The best tool for this drawing
technique is the pen.
In this module, we will be learning how to use lines as a shading tool to create
value and form, rather than using smudged graphite on a drawing surface.
Although graphite pencils are convenient for added line texture, it only
induces line carelessness, because you can erase mistakes every time you make them
which is a hard habit to overcome. Ready your sign pens and let’s begin…

Line Drawing
Line drawings or line art are artworks that can be a
sketch, or can look like a sketch but can stand on its own. It
doesn’t require color or shading and still can be classified as
a finished illustration. The main goal of every line drawing
artwork is to let the viewer’s eyes focus on the strokes and how
the artist manipulates them to create an illusion of light,
volume, and texture. Since we will be using the pen and
By Vincent van Gogh -
ink illustration style, let us first discuss the tools you can arthistory.about.com, Public Domain,

consider before drawing in this technique. https://commons.wikimedia.org/w/ind

Tools and materials:

a. India ink - this is a waterproof type of ink when dry. It is sold in bottles with
different sizes and colors. Inks can be categorized as pigment-based and dye-
based. Pigment-based inks coat the drawing surface pplied, while dye-based
inks are absorbed into the paper, smudging the line texture. This is why it
is best to use pigment-based inks on drawing and dye-based inks for
ink wash (soft smudge variation of graphite but with ink).
b. Nib pens – traditionally pen and ink illustrations make
use of dipping tools into ink to mark drawing or writing
surface. Although there are available fountain pens
with loaded ink cartridge avoiding the hassle of dipping
the pen continuously to draw, many artists still
consider this traditional tool. Ink cartridges tend to get

https://flic.kr/p/2irJxZk
clogged with ink over time, a nib pen can be cleaned
after use. Nib pens usually come in two parts – the nib
 and the handle. Today dip pens are used for
calligraphy purposes, but can still be used for line
drawings.
c. Technical pens- for those who don’t want to hassle
in ink dipping, technical pens are the right tools.
Like the nib pen, it is available in different point sizes
for stroke and line variations. These pens come with https://www.cosqueretas.es/tienda/pin
turas/calibrados/
refillable ink cartridges or pre-filled cartridges. If you
are planning to use pen and ink as a medium of
drawing, go for the refillable type technical pens.
d. Paper - For precise line works, artists prefer using
a smooth paper surface. Smooth paper, like Bristol,
is smooth enough not to damage the paper from pen
nibs and avoid ink bleed or absorption. Marks are
consistent in this type of paper. For ink wash
https://flic.kr/p/wkWY9g
technique, the watercolor paper is the right
type to use

When shading an artwork, the artist's main goal is to produce an illusion of

depth or three-dimensional effect on a two-dimensional illustration, through the use
of tones and texture. The same is true when it comes to line drawing or art. By using
different line shading techniques, you can achieve the same effect of a soft pencil on
a textured drawing surface. There are five common line drawing techniquesthat you
can try in your next artworks.

Line Drawing Techniques

1. Hatching
This is an artistic technique used to create
tonal effects by drawing closely spaced parallel lines.
Hatching is the most common line shading technique
that allows you to cover more areas in a short time. It
consists of lines that go in one direction. When
hatching, angle your pen or pencil and vary the
distance of each line to show volume. Be very careful
when using this line drawing technique, since it is
primarily a straight line drawn closely or loosely
together, it can make spherical objects look flat.
The tonal value of hatched lines depends on
its distance. The closer the lines, the darker the
tone. Lines in this technique can be horizontal,
vertical, or diagonal. Just remember to use a one-
directional line for a specific subject.
2. Cross Hatching
This line drawing method creates tones by
drawing alternating sets of lines that intersect each
other forming a crisscross pattern. Like in hatching
the closer the lines the darker the line volume.
You can use two intersecting lines with varied
spacing or just use multiple lines to produce darker
lines and tones. Cross hatching is great for drawing
textures like fabrics or skin.
3. Contour Hatching
Contour hatching is the same with hatching
and cross-hatching. Although you use this technique
with or without intersecting lines. The only difference
of contour hatching is that the lines are curved and
follows the contour of the subject. In this technique,
you have to try and draw implied lines into real
lines, just like the cross-contour exercise we had in
our past lesson. It gives three-dimensional form to
a two-dimensional drawing.
Like the other line techniques, tones can vary
depending on the distance of the lines used. Contour
hatching, like cross contour lines, follows the law of
perspective; the further the subject to the viewer's
eye, the smaller the distance of each line.

When creating line drawing techniques as shading for an artwork, always

consider the direction of light. This will be the basis of the line directions that you
will use to draw the shadows of the subject you are drawing. Proper line direction
gives an object the proper form. Try to capture the realistic feel of an object when
drawing the shadow using lines.
You can follow the tips below when drawing a line as a shading technique to
produce volume:

Line drawing tips

1. When drawing, your hands should rest firmly on the drawing surface.
Remember to use arm movements rather than wrist movements when creating
lines and strokes for a fluid line marks on your artwork.
2. Use stroke thickness appropriately. Avoid inconsistent line thickness and
marks when not needed in an illustration.
3. Line drawing requires patience. For best resulting line artworks, do not hatch
lines hurriedly. It affects the overall quality of tones in every part of your
drawing.
4. Line drawings are not like other shading techniques; the more strokes you add
to correct a line mistake, the darker it will get compromising the light source
of the drawing. Avoid using a ruler as much as possible, it will only
compromise the natural feel of the object you are working on.
5. When using a pencil for line drawings, make sure to avoid smudging the linear
marks on the drawing surface. These line marks are very vital in a line
 drawing, that is why artists prefer pen and ink illustration style when usingthis
technique

The following series of activities in the next section will test how much have you
learned about the basic line drawing techniques. Use sign pens to accomplish the
activities.
Illustration 10
Quarter 1
LINE DRAWING TECHNIQUES (RANDOM
Module HATCHING, SCUMBLING, STIPPLING)
14
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 EXPECTATIONS

After completing this lesson, the students should be able to:

1. Identify the different line drawing techniques to create shading and texture in
an artwork;
2. Explain how each line drawing technique add tones and value to an artwork;
3. Analyze an artwork and identify how the artist used lines and marks in his
drawing.

PRETEST

Direction: Write TRUE if the statement below is correct and FALSE if it tells
otherwise. Write your answer before the number.

1. Random hatching uses layers of scribbles or multi-directional strokes

to build up and create value.
2. The process of stippling is making repetitive lines on a drawing
surface.
3. Random hatching is a line technique that uses dots to create value
and texture.
4. Albrecht Durer’s line works, and contour forms influenced the current
expressionism in modern art.
5. Van Gogh also specializes in wood cut printing in his line arts.

RECAP
Let’s have a quick review of how much you have learned from our last module
“Line Drawing Techniques (hatching, cross-hatching, contour hatching)”

Identification. Fill in the missing words or concepts to complete the statement.

Write your answer on the space provided below.

1. Contour hatching is an artistic technique that follows the of the

subject when creating line shadings.
2. is an artistic technique used to create tonal effects by drawing closely
spaced parallel lines.
3. Avoid inconsistent line and marks when not needed in an
illustration.
4. Inks can be categorized as pigment-based and .
5. are artworks that can be a sketch or can look like a sketch but can
stand on its own.
 LESSON
LINE DRAWING TECHNIQUES
(Random Hatching, Scumbling, Stippling)

This is the second part of our lesson in line drawing techniques. In this
module, we will further discuss the remaining line techniques to create an illusion of
depth and texture. Like the previous module, we will be using the pen and ink
illustration style to complete the provided activity after the lesson.
We will also observe line drawing artworks from well-known visual artists and how
they make use of drawing techniques in their art piece. Ready your technical pens,
and let’s begin…

Line Techniques:

1. Random Hatching – Random hatching, like

its other hatching counterparts, uses
directional lines to create values. This
technique uses layers of short straight marks.
It’s like stippling done
hurriedly thus creating
short linear smudges.
Random hatching is
best used when creating textures in an artwork.
2. Scumbling – Often called the ‘brillo pad’ line technique
because it resembles the soap pad’s wool texture. This
technique uses layers of scribbles or multi-directional
strokes to build up and create value. A scumbling technique
is best used to create texture. This texture depends on line https://bit.ly/3ke23yG
weight and pressure.
3. Stippling – Often called pointillism. This line technique uses dots to create depth
in painting and drawing. The process of stippling is
making repetitive dots on a drawing surface. It is only
then that you can get a desirable value effect. Stippling
can be done using a brush, pen, or pencil. But the most
common illustration style with this technique is pen
and ink illustrations. You can easily achieve the desired
dot sizes by shifting nib points.

http://fav.me/d1sw3th
 Overall, we have discussed six-line drawing
techniques to visually express value and texture.
From the mentioned line techniques, a lot of other
line drawing variations can be used to create line
art. Among these variations are as follows:
All line techniques can be done in freehand
with carefully drawn lines. It may also be done
mechanically with a ruler or you may combine
both approaches in one technique. Whatever
method you wish to adopt, always remember to
choose appropriate line texture and value to make an artwork expressive and flowing.
When it comes to line drawing, both Albrecht Durer and Vincent Van Gogh
are well-known artists to express art using lines.

Albrecht Durer
We’ve already mentioned Durer as part of our
illustration history lesson. He was one of the best-
recognized craftsmen amid the Renaissance. He is
one of the artists who took advantage of woodcut
illustrations to promote art in printed materials. His
primary works, like the artists in his time is
concentrated on religious themes. Though his line art
style focuses on printmaking in wood, the precision of
each line work for something to be stamped on paper
was in par with Raphael and Leonardo’s works.
Study the following works of Albrecht
By Albrecht Dürer - Image copiée sur le site
Durer and observe how he utilized lines to create https://bit.ly/2XxBoDv
texture and depth in his artwork.

(a) Praying hands, 1508. Brush, gray and white

ink, gray wash on blue prepared paper.
(b) The Revelation of St. John:4. The Four
Riders of Apocalypse, 1497-1498. Woodcut
(c) Rhinoceros, 1515. Woodcut

(A) By Albrecht Dürer - Corel Professional

Photos CD-ROM, Public Domain,

By Albrecht Dürer, Public Domain,

(B) By Albrecht Dürer -

https://bit.ly/3imOOu7
Vincent Van Gogh

Who wouldn’t recognize the name Vincent Van

Gogh, the artist behind the famous art piece - Starry
Night? He is a post-impressionist artist whose line
works are filled with energy and emotion. His line works
and contour forms influenced the current
expressionism in modern art. In his line drawings, you
will observe how he uses each line technique to convey
subject interactions and create texture, depth, and
illusion of movement. His drawings are never dull, lines
gain life and movements in Van Gogh’s hand.
We’ve already discussed that line weights in
an artwork bring excitement and movement to a https://upload.wikimedia.org/wikipedia/
commons/4/4c/Vincent_van_Gogh_-
static illustration. In his drawings, you may _Self-Portrait_-
_Google_Art_Project_%28454045%29.jpg
notice how he make use of that detail. He would
also use multiple pens when drawing. Reed pens,
quill or fountain pens are among his mediums to
create line varieties.
Let’s observe some of his works and study
how he selects and use lines to create an illusion of
texture, depth, and movement.
1. View of Arles with Irises in the Foreground,
early May 1888. Reed pen, pen, ink, and wash over
graphite on wove paper
https://augenblickblog.com/
2. Wheatfield with Cypresses, Saint-Remy, June 2017/02/11/van-goghs-reed-
1889. Black chalk and pen.
3. The Harvest (for Emile Bernard), Arles-August
1888. Reed pen and brown Indian ink over
graphite pencil on wove paper.
4. The Starry Night, June 1889. Ink and paper

By Vincent van Gogh - repro from artbook,

Public Domain,

By Vincent van Gogh - cwGDJlRlfGm_Mg

at Google Cultural Institute maximum
zoom level, Public Domain,
https://commons.wikimedia.org/w/index.

By Vincent van Gogh - Unknown source,

Public Domain,
https://commons.wikimedia.org/w/index.
php?curid=738031
Illustration 10
Quarter 1
TEXTURE AND SPACE AS
Module
15 ELEMENTS OF ART
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 EXPECTATIONS
After completing this lesson, the students should be able to:
1. Define texture and space as elements of Art;
2. Explain how texture and space adds artistic quality in an illustration;
3. Compose an artwork using line drawings to represent texture and space.

PRETEST
Direction: Draw a line to match the definition of the concepts in column A to its
term column B.

Column A Column B

1. It is the tactile quality of the look

and feel of a surface on an object. • • space
2. Often called actual textures, these are
textures with physical qualities that you • • texture
can touch.
3. It is the space around the main object. • • real texture
4. This is a space illusion created by covering
a portion objects at the back. • • implied texture
5. It is an element that lies between, around
or within an object. • • overlapping

• negative space

RECAP

Identification. Fill in the missing terms and concepts to complete the following
statement. Write your answer on the space provided.

1. is the artist behind the famous art piece, Starry Night.

2. Stippling is often called . This line technique uses dots to
create depth in painting and drawing.
3. is one of the artists who took advantage of wood cut
illustrations to promote art in printed materials.
4. Scumbling technique uses layers of or multi-directional strokes
to build up and create value.
5. technique uses layers of short straight marks.
 LESSON

TEXTURE AND SPACE AS ELEMENT OF ART

Creating realistic illustrations seems a bit hard when you are a beginning
artist. It’s not easy to fool the eyes into thinking that what the viewer is seeing is an
object with three dimensions. Learning about the elements of art is the best way to
start to achieve this illusion of volume. Since the beginning of our lessons in the
elements, we keep on repeating how important it is to add volume and depth to an
artwork. We’ve also discussed how to use lines and values to create these illusions.
Today we will take lines and value further and take your artworks into a new kind of
depth by adding an illusion of texture and space. Unlocking not just the sense of
sight but the sense of touch as well and feeling an artwork through your eyes.
Let’s begin…

The Element of Art – Texture

An artwork, to begin with, is something that is meant
to be appreciated visually and touching is not part of it. Oils
in the hands may smudge the medium of the art piece
ruining it in the process. Still, seeing alone is not enough for
some artists when creating an artwork. They often unlockthe
sense of touch to engage their viewers by creating an illusion
of texture.
Adding texture is another step to create a dimension
https://bit.ly/30vAr0s
in an illustration.
The texture is the tactile quality of the look and feel

of a surface on an object. In other words, it is how something feels when touched.

Just like line, form, and shape, it can be categorized as to how it is created and its
function.

Categories of Texture
1. Real texture – or often called actual textures are textures with physical
qualities that you can touch. Like the ones in sculptures where artists can add actual
textures like real fur or scales. Or even sculpt it in a way it mimics the sametexture
of an actual object.
For two dimensional artworks like paintings, artists usually apply thick coats
of paint and brush strokes to create an element of texture in their work. Other artists
even add other mediums like fabrics or other objects into their canvass to achieve
the same result. Whatever materials an artist use in their work to include texture
element, like value, adds up to express realism in an illustration.
 2. Implied texture – are texture illusions or visual
textures created through line drawing and value manipulation
techniques. Implied textures are said to be an illusion texture
because it can only be felt through the eyes. If you will try
running your hands in artwork with implied texture, whatever
it is, it will feel the same – drawing surface texture.

http://propnomicon.blogs

By Albrecht Dürer, Public Domain,

https://commons.wikimedia.org/w/inde
https://redespress.wordpr

Function of texture

Texture, like other elements of art, helps to convey the artists' concepts and
ideas in an artwork. Creating texture gives the viewers the idea of what the artwork
is about and gives subtle visual cues to show if an object is soft, rough, hard, and
smooth. Its purpose is to let the viewers appreciate art beyond its visual properties.
With pen and ink illustrations as well as graphite illustrations, the texture is
achieved by drawing patterns. Varying the amount of and sizes of line patterns will
determine how hard or soft the area is. You can study how Durer created texture in
his Rhinoceros illustration and the patterns used to create a rough texture. That is,
however, if you are creating something from imagination. Artwork with reference
requires careful observation of value, shape, and form to mimic the texture in your
drawing surface.

The Element of Art - Space

Space is an element of art that is not drawn in a surface for two-dimensional
art, and not sculpted in three-dimensional form. It is an element that lies between,
around, or within an object.
Space is how subjects are organized as an illusion or as an actual art form.
Two-dimensional arts like paintings are confined within the borders of the drawing
surface, this is why artists often try to create an illusion of space to extend this limit.

How to create an illusion of space?

1. Perspective - this method creates an illusion of depth that an object is coming
forward from a specific point in the canvas. Perspectives depend on the number of
its vanishing points.
2. Overlapping – this space illusion is created when an object is drawn closer to the
viewer's eyes overlapping other images behind to create a three-dimensional illusion.
When an object is drawn on top of another the eyes interpret that there is space
between these objects.

https://graphicdesign.stackexchange.com/qu
estions/21533/whats-the-name-for-this-3d- By Vincent van Gogh -
https://bit.ly/32Uqew4

3. Placement on the surface - objects drawn higher the picture plane seems to be
further than the objects below.
4. Size - smaller objects look further than larger objects in an artwork.
5. Detail - the further the object in the space, the lesser the details in comparison
to the objects in front.
6. Color and value - objects in a distance are usually lighter in color and value.

Perspective Fantasy of a Palace, with Elegant Figures Mountains castles fantasy art artwork drawings
by Van Delen and Janssens rivers 2560x1600 wallpaper www.wall321.com 82
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Actual space like in sculptures is the space that the object is occupying and
its relation to the space around it. Aside from the three-dimensional scope of space.
It can also be positive and negative.

Types of Space
Positive space is taken up by the
main objects in artwork or sculptures.
Negative space is the space
occupied around the main object.
When you draw something on a
surface, you are not only adding an object, https://bit.ly/3hAyJQR

you are also subtracting a portion of the

surface to create that object. Therefore,
creating two shapes – one added and one
subtracted; positive and negative. There are a lot of existing artworks using positive
and negative space to create clever illusions.
Space is an element of art that can also be the relation of each object in an
artwork. It can make the illustration look spacious, crowded, cluttered, symmetrical,
shallow, or flat. Different artists manipulate the use of space in their artwork to
reinforce their concepts and ideas and better communicate with the viewers

https://i.stack.imgur.com https://flic.kr/p/bdSfip
Illustration
QCOLOR AS ELEMENT OF
u
ART (Color Theory)

10
a
r
t
e
r
1

Module
16
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 EXPECTATIONS

After completing this lesson, the student should be able to:

1. Define color as one of the vital element in an artwork;
2. Justify how proper color selection affects the overall artistic quality of an
artwork;
3. Compose a colored artwork following the color theory and harmony.

PRETEST

Direction: Fill in the missing colors of the color wheel. You may write or use color
to complete this task.

RECAP

Identification. Fill in the missing terms and concepts to complete the

following statement. Write your answer on the space provided below.

1. is the tactile quality of the look and feel of a surface on an

object.
2. Objects in a are usually lighter in color and value.
3. is an element that lies between, around or within an object.
4. Space is an element of art that is not actually in a surface for two-
dimensional art, and not sculpted in three-dimensional form.
5. Real texture is often called , these are textures with physical
qualities that you can touch.
 LESSON

COLOR AS ELEMENT OF ART

(Color Theory)

We are now at the final part of our lesson with the elements of art. So far,
we’ve discussed how lines, shapes, form, value, texture, and space are used to create
a visual representation of the world as we see it in a drawing surface. However, many
artists see reality beyond the lines and the black and white marks of a graphite or
ink medium.
More than any other element, color at a glance can trigger emotions, thoughts,
and memory. It helps reinforce the artists’ idea of how you should interpret his
artwork. In this module we will discuss color as an element of art to help you
understand and interpret other artists’ works and use it in your composition to help
you carry messages you wish to convey. Let’s begin…

Color
Color is the property of light seen when it is reflected from an object. Color
plays a vital role in illustration as well as designs. It helps draw the viewer's eyes to
the artwork. It also triggers emotional and mood response, memory, and the artists’
message. Colors help in communicating even with no words at all.
Colors at first glance may be easy to work
with, but it’s the most challenging and complex
element. Color can combine the other six
elements and the inability to control and
understand this element may lead to a
misconception of an artwork message and idea.
Wrong color choices and color contrast would
mean the opposite of what you want the viewers
https://pxhere.com/en/photo/157119
to feel and think in your artwork.

To understand color, it is best to start with the foundation – the color theory.
This theory suggests how colors are formed, how it perceives temperature, how to
alter its value, and how to properly select and combine it to create artworks. To take
it simply, color theory is your basis if the colors you have selected will look good
together.

The Color Theory

a. Color Wheel - The color wheel is a color circle based on the RYB scale -
Red, Yellow, and Blue, which is considered as the primary colors. In traditional color
theory, RYB are called primary because they cannot be made by mixing other colors.
All other colors are derived from these three hues.
Combining two primary colors in equal amounts will create Secondary colors.
Secondary colors are Green, Orange, and Violet. Tertiary colors are the remaining
colors in between primary and secondary colors. There are six tertiary colors: red-
orange, red-violet, yellow-orange, yellow-green, blue-violet, and blue-green. Notice
how the primary colors are named first before the secondary, this is the proper way
to name tertiary colors.

http://tx.liberal.ntu.edu.tw/ColorStone/Docs/Pics-color.htm

A complete color wheel can be used to perceive color temperature. A lot of

artists make use of this category to trigger emotion in their work. Splitting the color
wheel in half will result in color combinations you can use to show temperature –
warm and cool. Warm colors are ideal when creating warm, exciting, aggressive, and
energetic emotions in an artwork. Cool colors, on the other hand, have a calming and
soothing effect in design and sometimes these colors can also reflect sadness.

Cool Color Warm color

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https://commons.wikimedia.org/wiki/File:Vincen https://yangandsantosart.wordpress.com/2013/
t_van_Gogh_-_Irises_(1889).jpg# 04/03/examples-of-color-combinations/

Each color can be further enhanced by adding white or black, thus creating a
color value scale.
b. Color values – value as mentioned before refers to the gradual change of
lightness or darkness of a tone or color. When working with color, the value can be
affected through the amount of black or white added in it.
Adding black to color will produce shades while adding white will result in
tints. A tone is then created with gray, a mixture of black and white is added to a
color.

https://azza.tistory.com/entry/Hues https://no.wikipedia.org/wiki/Val%C3%B8r_
-Tints-Tones-Shades
 In addition to the basics of the RYB color wheel,
let’s have a quick explanation of another color system
used in a modern-day computerized color matching
system—the Munsell Color system, named after
Professor Albert H. Munsell.
His color system correlates to the RYB color
wheel, that is why some terms in his color system are
the same as the traditional RYB system. One of the
Munsell’s system advantages over the traditional is the
accuracy of its color standard, making it as the popular
choice for a wide range of industries like the United
States Department of Agriculture. His color system is the https://de.wikipedia.org/wiki
/Albert_Henry_Munsell#/medi
official color system used for soil research in the 1930s.
In his color system, each color is comprised of Hue,
Value, and Chroma. Hue is the color itself; it is Munsell’s
other name for color like red, yellow, blue, green, and the
rest of the RYB color wheel. Black, White, and Gray are
neutral colors and are used to blend with hues to create
value. Value is the lightness and darkness of color
depending on the amount of black and white hues added.
Lastly, Chroma or saturation is referred to as the intensity
of the color.
High saturated colors are brighter, while
desaturated ones have less pigment and look dull like an Valu
old poster with pale color.
Whatever ways you may use the basic theories of
the RYB color wheel and the Munsell color system, it is
https://bit.ly/2OYwACg
important to properly select colors according to the idea, emotion, and message you
wish to convey.
Illustration
QCOLOR AS ELEMENT OF
u
a ART (Color Schemes)
r
t
e
r
10
1

Module
17
T E C H N I C A L VO C A T I O N A L L I V E L I H O O D
 EXPECTATIONS

After completing this lesson, the student should be able to:

1. Identify the basic color schemes when selecting color combinations;
2. Explain the importance of properly selecting colors when creating an artwork;
3. Create an art composition using the color schemes as guide in selecting colors.

PRETEST

Direction: Write T if the statement below is correct and F if it is false. Write your
answer on the space provided before the number.

1. Monochromatic color scheme uses three hues on the color wheel that
are next to each other.
2. Black, white, and gray are neutral colors, that can be added with the
color scheme combinations to create value.
3. To create a triad art, you only need to pick a spot or hue on the color
wheel, then create variations through value and intensity or saturation.
4. Color field painting is an abstract style of painting that emerged
during the 1950s and 1960s in New York City.
5. Color scheme is the appreciation of what is plainly in front of you with
no restriction to what and how the artwork is painted.

RECAP

Let’s have a quick review of how much you have learned from our last module
“Color as an element of Art (Color Theory)”

Directions: Fill in the missing terms and concepts to complete the following
statements. Write your answer on the space provided below.

1. is the property of light seen when it is reflected from an object.

2. Combining two primary colors in equal amount will create the secondary colors-
orange, , and violet.
3. A is created when gray is mixed with a color.
4. or Saturation, refers to the intensity of the color. It is the lightness
or dullness of a color.
5. When is added to a color, we produce shade.
 LESSON

THE COLOR AS AN ELEMENT OF ART

(Color Schemes)

Picking up from where we left of, understanding the use of color relies in the
artists’ understanding of its foundation- the color theory. To better understand this
theory, it is divided into three parts, (a) how color is formed (color wheel), (b) color
value, and (c) color schemes. The first two parts explains how colors are formed
through mixtures of primary colors and how to create contrast using the value scale
in a single color.
In the following lessons, we will now proceed with the guidelines in selecting
appropriate color combinations. Whether it is for an outfit, graphic designs, or your
next colored illustrations. Read and understand the next sections to help you build
confidence in using color and no longer suffer from the thought of drawing in
grayscale forever. Let’s begin…

Color Scheme
Color scheme or sometimes referred to as color harmony, contains two or more
colors from the color wheel. These color combinations are matched depending
on their relative position in the wheel and they surprisingly looks good when
combined.
Basically, color scheme or color harmony is the proper
way of selecting colors to be used in an artwork. These are
tried and tested color formulas that artists follow in their
https://bit.ly/330CDi0 works.
Remember that black,
white, and gray are neutral colors that can be added
with the color scheme combinations to create value.
It is best that you properly know how to create the
traditional color wheel first before proceeding with the
schemes. Now that you know the importance of color
scheme, let’s take a closer look on the different color
guides.
https://pixabay.com/illustrations
a. Monochromatic /color-spectrum-circle-1192509/
– This is the most

basic scheme of all. To create a monochromatic art,

you only need to pick a spot or hue on the color
wheel, then create variations through value and
intensity or saturation.

http://fav.me/d
b. Analogous – This color scheme uses three hues on the color wheel that are next
to each other.

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https://bit.ly/2Pgo

c. Complementary – These are opposite colors on the color wheel.

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d. Split – complementary – This color combination uses one base color and the left
and right colors of the base colors’ compliment.

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http://www.deanenettles.com/webexamples/colo
rexamples/

e. Triadic – or sometimes referred to as triad, is a color scheme with three equal

color spaces forming a triangle on the wheel.

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f. Tetradic – this color scheme forms a rectangle pattern on the wheel. To take it
simply, this combination is a double complementary.

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 If you think these color combinations will look too
saturated or bright, you can still vary the hues through
tints, tones, and shade. This way, your artworks will
have a different level of contrast and will not create a
cartoony result. The following are some examples of
desaturated color schemes. Aside from the regular use
of colors as a way of mimicking the three- dimensional
world.
There are artists who interprets colors as it is and
doesn’t represent anything in the real world. To them https://colorpalettes.net/tag
/brick-red-and-dark-blue/
colors are beautiful subject in its own. They are what we
call abstract artists, specifically the field painters.

Color field painting is an abstract style of painting that emerged during the
1940s and 1950s in New York City. This style is highly related to abstract
expressionism. Pioneered by Clyfford Still, Barnett Newman, and Mark Rothko. Their
color field paintings were characterized by large field of flat, solid color that is
appreciated at a short distance. Their art does not portray anything in the outside
world, but an exploration of the shapes and colors itself. And are not meant to be
contemplated with what the artist wants you to see.

Abstract art is the appreci ation of whaBtarinsetp

t lNa
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mlyan. (American, 1905-1970).
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to what and how the
oil on canvas
artwork is painted. This is because the colors in a
canvass is beautiful as it is. It is a painting with the
colors, shapes, forms, and space as the subject. Abstract
paintings like color field is not what it looks like beyond
the canvas, it is what it feels like—beyond what you think
the artist meant in his work.

By Mark Rothko
The activities below will test how much have you https://bit.ly/39ALkkd
learned about the different color schemes in an artwork.
Ready your coloring and drawing materials.