4. Different types of form
An "organic" form is loose and undefined. O!en things
found in nature are organic forms, like clouds. Clouds
have no set form, and no geometric lines or angles.
5. Different types of form
"Geometric" forms have hard, defined lines and angles,
and don't vary too much. O!en man-made things have
these kinds of forms, which must be measured to come out
"correctly.".
9. ceso de mejora de vesves en líneaspara el difuminados so-
y traducir lo que las habilidades signos dibujo. Dibu- so-
y traducir lo que en líneas y y signos difuminados • Analiza la forma del modelo, observando su estruc-
cas, con sus ejes y simetrías.
cas, con sus ejes y simetrías.
jar implica observar las formas de la luz y de la sombra,
bre el papel.
bre el papel. tura general para acoplar las formas geométricas bási-
y traducir lo que ves en líneas y signos difuminados so- cas,•con Estudia encaje deldel motivo en papel.
Estudia el elsimetrías.
• sus ejes y encaje motivo en el el papel.
breEstas líneas, signos o manchas constituyen unun mapa:
el Estas líneas, signos o manchas constituyen mapa:
papel.
• Estudia el encaje del relación entre proporcioneslaslas pro-
• Considera la relación entre proporciones y y pro-
• Considera la motivo en el papel.
sus direcciones y y formas son muy importantes. Curio-
sus direccionesformas son muy importantes. Curio-
Estas líneas, signos o manchas constituyen un mapa: porciones compartidas con loslos elementos objetos
porciones compartidas con elementos u u objetos
samente, si intentas dibujar unun objeto (un jarrón como
samente, si intentas dibujar objeto (un jarrón como • Considera la relación entre proporciones y las pro-
más próximos.
sus direcciones y formas son muy importantes. Curio- más próximos.
el deldel modelo de la fotografía) con conocimiento
el modelo de el conocimiento y
samente, si intentasla fotografía) con (un jarrón como y
dibujar un objeto el
porciones compartidas con los elementos u objetos
concentración
Drawing organic forms
concentración en en el hecho de que trata de de una esca-
fotografía) que se
se trata una
el del modelo de lael hecho de con el conocimientoesca-
yola, es posible que no lode que se trata de una esca-
concentración en el hecho
y
yola, es posible que no logres. LoLo importante es ob-
lo logres. importante es ob-
yola, eslas las formas, las proporcionesel modo en en que las
servar posible que no lo logres. Lo y y el modo que las
servar formas, las proporciones importante es ob-
servar de de oscuridadde de luz ajustan entreen que las
áreas las oscuridad y y luz se se ajustan entre sí.
áreas formas, las proporciones y el modo sí.
más• próximos. las superficiestexturas deldel modelo, observan-
Analiza las superficies o o texturas modelo, observan-
• Analiza
do do su comportamiento conluzluz y con ello establece co-
su comportamiento con la la y con ello establece co-
• Analiza las superficies o texturas del modelo, observan-
rrectamente loslos brillosluz y con ello en definitiva, la gama
rrectamente brillos la y sombras y, definitiva, la
do su comportamiento con y sombras y, enestablece co- gama
de de grises que proporcionan en efecto tridimensional.
grises que proporcionan y, el definitiva, la gama
rrectamente los brillos y sombrasel efecto tridimensional.
Modelo
Modelo
Modelo
áreas de oscuridad y de luz se ajustan entre sí. de grises que proporcionan el efecto tridimensional.
11 1 2 22 3 33
63
PASO 11 1
PASOPASO PASO 2 2 2
PASOPASO PASO 3 PASO 3
PASO 3
Encaja el dibujo en laen hoja de de papel, procurando
Encaja el dibujo hoja de papel, procurando
Encaja el dibujo en la la hoja papel, procurando Continúa tomando los tonos extremos: empieza por por
Continúa tomando los los tonos extremos: empieza por
Continúa tomando tonos extremos: empieza Esta última fase es la de es la de de sombreadode de estudio
Esta última fase sombreado y de estudio estudio
Esta última fase es la sombreado y y
que que quede bien centrado.
quede bien centrado.
que quede bien centrado. el más más oscuro dejando el blanco. Seguidamente, hashas
el el más oscuro el blanco. blanco. Seguidamente,
oscuro dejandodejando elSeguidamente, has comparado del claroscuro.claroscuro. Sin duda, en en que
comparado deldel Sin duda, es duda,quees la la que
comparado claroscuro. Sin en la es
Dibuja las líneas, ejes y direcciones más significati- de tener presente la relación relación de luces–objeto. De es-
de tener presente la de luces–objeto. De es- más atención has de poner. de poner.
Dibuja las las líneas, ejes y direcciones más significati-
Dibuja líneas, ejes y direcciones más significati- de tener presente la relación de luces–objeto. De es- más atención hashas poner.
más atención de
Sketching
vas, vas, dando visión esquemática de lasde las formas en
dando una una visión esquemática formas en
vas, dando una visión esquemática de las formas en
superficies y volúmenes geométricos, como como es el ca-
superficies y volúmenes geométricos, es el ca-
superficies y volúmenes geométricos, como es el ca-
so de esta superficie de revolución. Destaca los con-
so de esta superficie de revolución. Destaca los los con-
so de esta superficie de revolución. Destaca con-
tornos más sobresalientes para dar los tonos.
Development
ta forma tendrás tendrás los tonos límites del dibujo.
ta forma los tonos límites del dibujo.
ta forma tendrás los tonos límites del dibujo.
Detail.
Vete difuminando de los tonos más oscuros a los
Vete difuminando de de los tonos más oscuros a los
Vete difuminando los tonos más oscuros a los
más claros, para llegar para llegar al brillo, abriendo paulatina-
más claros, al brillo, abriendo paulatina-
más claros, para llegar al brillo, abriendo paulatina-
mente la gama de grises hacia el blanco. Lo último
mente la gama de de grises hacia blanco. Lo Lo último
mente la gama grises hacia el el blanco. último
será dibujar los pequeños detalles.
tornos más sobresalientes para dardar los tonos.
tornos más sobresalientes para los tonos. será dibujar los los pequeños detalles.
será dibujar pequeños detalles.
Luces y sombras
Luces y sombras
Luces y sombras
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Now, let's jump to the unit 4. Representing shapes: structures and metric relationships. \n
We are going to see first the organic forms. But it is important to distinguish between two types of form. \n
Organic and geometric. \n
\n
\n
As I told you we are going to start working with organic form. \n
We have three types of treatment of organic form. Realistic expression. This treatment has a high degree of likeness with the original model. Geometric expression. This treatment modifies objects by simplifying them to geometric shapes and figures. Expression of contours and silhouette. This treatment simplifies forms to either their contours or silhouette.\n
Now we are going to learn the three-step process for drawing organic forms: sketching, development and detail.\n\n
Sketching. This is the most important part of the process because we need to create the correct proportions for each object and position them on the support. Development. Here, we add auxiliary lines that define each form. Detail. In this part of the process we add the finishing touches to the drawing.\n\n
Now we are going to learn the three-step process for drawing organic forms: sketching, development and detail.\n\n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
First Sketching. To do this, we need to examine the proportion of the parts of each object as well as the proportions of the objects in relation to each other.\n \n
Now we are going to learn the three-step process for drawing organic forms: sketching, development and detail.\n\n