Drawing

Precise Ink Drawing of 3D Models

“…The next step is to decide which MVs best represent shapemeasures mostly used in the production of precise drawings.We considered fundamental shape measures used byillustrators for highlighting structures of the subject, whichinclude slant variations (in length and direction) and convex/concaveformations across the shape of the subject 4 , 31 † After studying complete systems of MVs 7 , 24 , 25 , 26 , we observedthat slant variations can be adequately represented by MVs of slope steepness and aspect, and that convex and concaveformations can be properly measured with mean curvature.Those MVs are calculated at the middle point 0 of theedge ab (fig. 3) as described next.…”

“…Traditionally, precise drawings are producedin three main steps: 1) Shape characteristics (i.e. foldingregions, surfaces areas, volumes, curvatures) must firstbe accurately identified and measured; 2) regions related tothe shape measures are then lightly outlined using pencils,and 3) filled with pen strokes, with a gesture that conveys acareful constructed look 3 , 1 , 4 .…”

“…In clusters, they create acumulative effect resulting in tone values which helps to ensureproper revealing of the subject's shape characteristics.To this end, the main challenge facing the illustrator is onrepresenting tri‐dimensionality in drawings, given the factthat strokes are essentially 2D marks placed in a plane. Toovercome this limitation, illustrators: (a) adjust the thicknessof the strokes by making them thicker at certain curvatures,junctions, creases 1 , 4 , and (b) control the cumulative effectsof strokes by carefully adjusting the spacing among them.…”

Defining Pictorial Style: Lessons from Linguistics and Computer Graphics

“…Jackson Pollock and many other Abstract Expressionists elaborated the use of the blob into a system. Rawson (1987), p. 81.…”

“…The spatial relations between these regions on the picture surface are best described in terms of the topological properties of spatial order, proximity, separation and attachment. The figures of the man and the woman are identified by lines representing their contours, and in some places, as Rawson (1987) points out, the areas of tone run across these boundaries joining the figures together on the picture surface. In other places, however, the figures are separated, most notably by the long, thin area of light tone that divides the man's belly from the woman's belly and upper thigh.…”