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I. Think. Any time that we have a. Task to perform my journey to take. And we find we have difficulty. We usually first think and then breaking it down. Into steps. If you're traveling. The heights we use lighters. Or we use stairs or elevators. But breaking it down into steps.
There are eight steps in a structural approach to growing and our program today is going to be concerned with. These steps and the order. That we're going to take. Now drawing. Is an orderly language. More so than other languages. There are the eight steps you could say nine or six but there are steps that we must go through in order to make it a sensible language and to make it a much easier task for you. Now a little later on if you have pencil and paper ready you can draw. But I wanted to go through the steps and make a demonstration. And toward the middle of the program. Then we'll draw. Let's look at these steps. First we determine or decide this is where many people go wrong. They want to start drawing first but the first four steps in drawing the structural approach are decisions where on the paper. It sounds very simple but if you're drawing a long piece of pipe and you want to draw it
from left to right you can't start on the right side of your paper you go off your page. So approximately in generally where on the paper then the next step we decide is the size the approximate size of the object. On the paper whether we want to drop as small as a postage stamp or appear as large as a saddle blanket we must make this decision. Then the viewing. Now this is very important the viewing angle. We haven't spent much time on that but soon I'm going to make a demonstration. The angle which you view your object reveals and helps make an effect of language. Then of course we decide on the major basic shapes and we've spent five programs there where we included this kind of a decision. After you've made these four decisions then you're ready to draw. You're ready with your paper and you're ready with your pencil. So what do you draw first.
The major basic shape are the main shape of the object in the viewing angle and in the perspective that you have determined. Then you add the minor shapes. In perspective and in proportion to the major shape. You refine and adjust. All artist must do this your lines will not be perfect your proportions will be a little bit off. So you need to refine and adjust and then you must improve your best lines or darken your best lines and if you want to show depth then you can shadow or shade. And we talked about the viewing angle. And that's the next thing we're going to do. Is take up a viewing angle. This is an example suppose I wish to build a bird feeder. If I selected this viewing angle straight on I would tell something about it I would tell a silhouette. But it's
not the best angle. To give the idea of depth. The top of the roof it doesn't tell us that. So in making a sketch. Sketching to build I would probably. Select another viewing angle. And it would probably be a top three quarter. And later I'll show you why. This sounds like a simple decision to make and it is but it's very important.
Now the difference in this feeling angle in this one is this tells us more for the same price. This. Suggests the proportion the depth. Of the feeder to the hype of the web. It also shows us something about the roof. So it tells us more than this one. Now many times in drawing to builder to design you need more than one view. For example. This does not. Tell us how we're going to attach that so many times. I use more than one view. I'll take a low view in this case. And I won't complete the thought. But you know that it would go up here because at this time I'm interested in. The bottom of the feeder. So let me suggest.
Now I want to. Decide how I'm going to attach the post so I'll put it in the center. Little helpful hand is fine center I run the Aghan lines. There is my center. So from the center I would come down with a round or square post. Like that. And. I have some support. Here. In mind. So then I would come across it in perspective. Both ways. And show this one. Man. Show this one. I may see a part of this one over here. That's not too important. In designing. Because the front to
tell us what we need to know. So the viewing angle is important. This tells us about the top and the roof and the depth. It shows. The interior. And this one. Shows us the base. So in this case I would probably. As I have done here. Make two sketches and then I'm ready to dim. or to. Order a bill of materials for lumber or two or to look at it and decide maybe that isn't what I want. Now if you have pencil and paper in a book or magazine for support Next you can go along and I invite you to do so. I'm going to take an automobile to draw you'll probably have never. Well you'll never have a reason really to draw an automobile as less it's just a pleasure. You won't be designing one but
it can be difficult but breaking it down into the steps the idea of our program today into the steps you draw along and you'll be surprised what you'll be able to do now if you have. Pencil and paper. Take your paper. The landscape the long way. I assume it's eight and a half by Levon paper. But somewhere to the left of the center of your paper. You've decided in going through our steps. Let's go back. There and we determined we're going to draw an automobile. Where on the paper it's going to be here and go up this way. The viewing angle is going to be high C in the front and the side top three quarter. And the major basic shape is a rectangular solid. Most automobiles are not some races or cone shaped or cylindrical but most automobiles had could be encased in a rectangular solid.
Now I've decided that I'm ready to draw now. So somewhere to the left of center. And probably the lower third of your page about here. I'll put a vertical line that'll be the corner of my rectangular solid. Next I'm going to lay the perspective line and you can remember from your manual the Y the flat y. And the automobile is longer than it is wideness so I need to extend it. Then if I determine the depth to be about here I'll put a mark here and if I determine the width to be about here I'll put a mark there. And then in perspective. I draw the baseline
in perspective. I get a little bit closer together back here. Because we're creating an illusion of depth there. Now if you're drawing along with me I'll go back over this. Here's the corner. The focal line. We've established an eye level that is high and three quarter view. We have set up our perspective line. Now this line. May give you a little trouble. Take it in short strokes and when you draw this you're conscious of this line right here because this line will be in perspective to this line. That means it will not quite be parallel but it will tend to converge to a point somewhere off in the distant horizon.
Now temporarily I think I'll block this off. When I draw this line I'm thinking and conscious of this line because it should be in perspective to that line not necessarily parallel but in perspective. So then I was stablished the point to close in the blog. So we have drawn the major basic shape. And if you're following along with me in the manual or if you're drawing. Ah but I'm now on the second step of drawing which is adding in minor shapes. Now there's no order to that I could add the headlights here the grill the cab. So I think I'll make a section line here. In perspective. About where the windshield would start. Your problem is going to be getting these lines out of respect.
Very lightly. And then usually to help me later. I get a center line so I put a mark in. About the center here. And very lightly. I go down here. And straight down. These are guidelines. Now the minor form here. I think I'll start the windshield in a little bit from the width of the body not a set. And it will. Slant. And very lightly slant because it's a wrap around wind shield and we don't want the hard line to remain when we're finished. And then in perspective
I determine the height of the windshield. And then I start going back the other way. In perspective. And I can close it and I get a coupe. Or a sedan or I can extend the line if I wish. I could make it a pickup with a camper. Or a station wagon. I like to work around my picture. I think I'll move up now to the. Grill the headlights and about. One third of the way down the top here I'm going to draw a light guideline. You may do this also.
This will be the top of the headlight. And very lightly I'm going to sketch. A rounded square for a headlight. They're. Going to come over here. And do the same thing. Not finished simply placed there. And below. I could suggest the parking lot here. And. Here I could add a bumper. Something like that. Now for the grill. I think I'll start the grill
a biped at the base of the headlight. So let's make the top line of the grill going across there. Like that. Now the shape the Grail. And others I go to this point here. And I have a point back here. So with short strokes. I can. Draw between the two points. And then we get. A boat or hood. Now here. You won't see that. But it would come back to here. Well let's go up a little bit above the headlight. And determine the height of the fender. Both sides. And then from that height. I'll go back. And I have formed the top of the fender.
I do the same thing. Here. Now I come down to the center. Top of the grill and I have a point there. And I have a center point up here and I follow the contour of the grill. And I have a center line. Doing. We would race or lose these. They're no longer needed but they're very important in beginning our picture. And I look at my picture and I see if it's in perspective. What I wish to add. Here I may.
Wish to shape. The grill this way. I'm back here and I may wish to show. A division there. And show the bottom of the grill. And I may darken this. It helps reveal. It. I may add something. To the bumper here. Doctor. And come over here. And another one. I'll sculp.
Sander for the front wheel. That. And moving back. In perspective. May see part of the rear bumper here. Now let me see I moved up here to the windshield. And this time I'm going to wrap around here to a point about there. And then close it. I'll do the same thing here. Darken the line so you can see it.
Yours need not be that dark your line. And redraw. This line. You know I want to place a door since. The cab is narrower than its sides. My door line would come out a ways. And then it would come down. Same way. For the rear line of the door. And it would probably be rounded down there. And you would probably have a handle of some type here. And you may have a wind event there. And you would have a support here. And if I wish to suggest a wheel it would be a cylinder here
in perspective. So it would be a no. And these are a little difficult to draw. To get the angle of the thickness of the wheel. And you could work a while on that. And I have a gap here. Now the front wheel to make it easier on you I'm going to turn the wheel. Facing you in front where we can do. What we please with it but we can't the rear it's fixed but we could turn the front wheel like this. And would be looking at the tread. And probably see a shadow. And then we would see. The other front wheel. Down below the bumper over here.
And we could add. A suggestion to tread. Like this. And I shouted. And. I may shadow this to help define a wheel and shape. Shatter. The fender well by thunder needs. The body. And I could add some shadow here in the shape. Of contour of the body. You could use a side of your pencil if you have a soft pencil. And if you wish to erase or simply cover up these lines are no longer needed. This line this line is no longer needed.
This one up here. You. And I may wish to add. Some detail. Or to adjust. Add some weight to the chrome bumper. I could now. Add some tome here with a side of the pencil. And. There is no end. To the detail if you wish to. Take the time and
for whatever purposes. You would have. Of a luggage rack. Once you have your perspective set up. Then you're in business. You could show some. Of the interior. The dashboard the wheel. The seat. While you're catching up. You can add to it a cylinder. Another cylinder. I don't expect you to draw this. But I'm just showing you how you add to a picture. In perspective. Another cylinder adek you. Cut out. A letter drop there. And you could have a mailbox. The.
Cylinder. Cylinder block. Could shadow beneath the automobile. It helped show form. Improve your best lines. A. Side of your pencil. You could show. A. Reflection. So when you're finished that appears to be hard to draw but. If you take it by steps. Breaking it down into steps.
A complicated picture is simply. More parts. We emphasize steps today and we will of course include them in all the programs. And you probably recognize them now next week. We're going to going to devote the program to a little helpful hints in drawing. The little hints A little things that people don't think about that artists have discovered and also have paid so on paper already because we'll have another draw along. In the next week. Check your manual. Look at the steps and the hints and we'll review it on paper.
Series
Freehand Drawing
Episode Number
6
Producing Organization
KOKH-TV
Contributing Organization
Maryland Public Television (Owings Mills, Maryland)
AAPB ID
cpb-aacip/394-94vhj01b
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Description
Episode Description
#6: Decisions & Procedures (Master)
Broadcast Date
1980-06-17
Created Date
1974-07-25
Asset type
Episode
Topics
Fine Arts
Media type
Moving Image
Duration
00:28:25
Embed Code
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Credits
Copyright Holder: MPT
Producing Organization: KOKH-TV
AAPB Contributor Holdings
Maryland Public Television
Identifier: 32896.0 (MPT)
Format: U-matic
Generation: Master
Duration: 00:30:00?
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Citations
Chicago: “Freehand Drawing; 6,” 1980-06-17, Maryland Public Television, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed May 21, 2022, http://americanarchive.org/catalog/cpb-aacip-394-94vhj01b.
MLA: “Freehand Drawing; 6.” 1980-06-17. Maryland Public Television, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. May 21, 2022. <http://americanarchive.org/catalog/cpb-aacip-394-94vhj01b>.
APA: Freehand Drawing; 6. Boston, MA: Maryland Public Television, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-394-94vhj01b