You say, "Welcome everyone. The time is now 12 o'clock, and class shall begin.
You say, "Today's lesson will be about using line-weights and crosshatching in your pictures
Piccillo walks in front of the blackboard and says, "Are we ready to continue, everyone?"
You say, "Now the first concept we will go over is line-weight."
You say, "Now look at the first series of drawings, at the top of the page. The first picture in it shows a face. It is drawn, as you can see, with a standard thickness of line."
You say, "Now what line weight means is how thick you make the lines - either by darkening them by going over them again and again, pressing a bit more with a marker, or using a brush to make them more heavy."
You say, "Now line weight is used to do many things - in this case, we are using it to make the pictures more 3-d and lifelike. We are doing this, actually, by becoming illusionists. :) I'll explain..."
You say, "Now drawings are all done in 2-d. But you've all seen pictures that seem to *leap* off the page. And many others that seem more life-like than others even though you know they are just on a flat surface."
Piccillo continues. "This effect is acheived by using optic illusions. Artists can get so talented they can suggest to the human mind certain things that make a picture seem as if it is in 3-D."
You say, "This is the beginning of such skills. Line weights give the impression of shadow and substance to a picture. "
Piccillo nods to Rox and continues. "As you can see in the second image in the first series of pics, I've used green pencil to highlight where I feel the lines need to be thickened. I've placed them there to show shadow, or to strengthen lines I feel need to stand out more."
You say, "In the third picture of that series, you can see the effect of adding the darker lines in."
You say, "A picture with lines all the same width, or weight, does not stand out. You can use line width almost like focusing a camera...to draw attention to the subject of your picture. Background can be drawn with lighter lines, giving the illusion of distance to it."
Piccillo summates, "So line weight is one tool we can use for suggesting mass and weight, shadow and substance - to make our picture seen as more 'real'. Now, any questions before we go onto the second series?"
You say, "Generally yes Alias, but remember it can also be used to focus attention...if your subject is in the background that you want people noticing, you might want to try and make the foreground picture seem 'fuzzy' by using lighter lines."
You say, "But generally you are right Alias...the closer the subject is to the viewer, the darker you want to make the lines."
You say, "Anyone else wish to ask a question before we move on to Shading?"
Graytail says quietly, "The reverse would be true of spectral charactors?"
Graytail says quietly, "Thinner lines preferable to heavy?"
You say, "You mean as in ghosts Graytail? It would depend on the spectere I suppose..."
You say, "If you want him to look transparent you can use thinner lines than the standard you would use for your normal models. Still show a bit more thickness to them - unless it's your goal to make him blend into the background."
Mozes utters, "I only use heavy lines for the outline of the character. The details inside I keep thin."
Piccillo nods to Mozes. "A lot of it is personal preference. The examples I give are guides only - every artist must decide for themselves what is best for their style and technique."
You say, "Does that answer your question for now, Graytail?"
Mozes nods. "Great. Nice to see you look at it that way. But my art id down right now. Stupid geocities.
Piccillo nods, "I know Mozes. I'm making an area for students to put a peice of artwork up for display on my site. You can send me a single pic you'd like to display later on for addition if you wish."
You say, "If there are no other questions, we shall continue. "
Piccillo continues. "Now the second technique I'll be showing you is shading using cross hatching. Cross hatching is basicly drawing lines...lots of lines. By drawing the lines, then crossing over them with another set going in another direction, one can make the suggestion of deepening colors or shadow in a picture."
You say, "Let's examine the second series of pictures under 'shading'. Once again, I've started with a simple line drawing, added in green where I feel shading will be needed, then shaded in the last pic."
You say, "Now shadows are interesting things. Hold your hand up to the light. Notice that you don't get an even blot of shadow...they tend to pool in crevices and wrinkles in your hand. It helps to almost think of it as water - it will gather in the deep places and be deeper than in the shallows."
You say, "So you'll notice in my face, I didn't just put the shading on the bottom of everything. There are small bumps in the head and features, places that catch the light and parts where light doesn't hit as much. "
You say, "Places such as hair and messy fur will have plenty of crevices for shadow to pool in. Remember this when you are drawing your next pic - thy to think of where and how deep your shadow would 'pool' on it."
You say, "Now that's a bit to digest, so feel free to ask any questions before we move to the third picture and tie both techniques together in a full picture."
Wren says, "What about the cross hatching itself? I find that to be somewhat difficult in many cases,"
You say, "If you look right below the shading series of pics, you'll see a larger detail of cross hatching Wren."
You say, "Now, the basic concept of cross hatching is just adding similar width layers to give the illusion of depth to your shadow."
You say, "Now, you *could* just draw it as pitch black. But then there would be no way to show contrast. You'd either have total shadow, or pure light."
You say, "Which is great - if you are going for that effect. Plenty of artists use it. But this can be used to suggest deepening shadow to the human eye."
You say, "It gives the look a more 'rounded' feel, rather than flat. Hence, a more 3-D effect."
You say, "It's improtant to 'cross' the lines though. It somehow triggers an image in the mind's eye of a steady deepening of shadow. I don't know why, it just does. :)".
Piccillo nods, "It might depend on the picture you are trying to draw as well...or you are having trouble finding the proper light-source for your picture?"
Wren says, "Just making the lines neat enough and tight enough with my unsteady hand ;)"
Wren grins, "Or I miss ;)"
Piccillo ahs and nods. "Well, that can be a pain. I was Mr. 'Shakey hands' myself. And Rox is right - if you do it slow, you'll get shake...quicker is better for cross-hatching.".
You say, "I'd suggest getting some paper and just getting used to drawing close set parralel lines. It is boring yes, but once you start getting the feel of it it becomes habit. I can do it quickly and easily now - you will be able to as well."
Pelronir raises claw, "What about digital shading?"
Wren says, "Computer generated work ;)"
You say, "Hrmm...digital shading? That is, honelstly, too complex a question to answer. There are so many programs out there, and so many options to cover, that I can't give a general answer to the class."
You say, "To be honest, I have little experience with digital shading. So it will be really impossible for me to answer any questions about it with any degree of competence I'm afraid."
You say, "I could point you to a site or two later on that might help, if you are curious about using programs to shade your pictures."
Pelronir speaks, , "I'm not too concerned on shading, Mr. Piccillo, I need to work on my dimensions."
Pelronir speaks, , "I can do a dragon face, but all of them are facing the left."
Pelronir speaks, , "I need to be able to make a dragon face when he/she is looking at the viewer."
Piccillo nods, "One of our previous classes had discussions on dimensions Pelronir...one of the ones in April I beleive. And the next class will deal more with odd angles and how to draw faces and poses in them."
Piccillo nods, and did a class series covering the forward and side views. "It's in our class logs now Pelronir. Feel free to browse em. :)"
You say, "Then we shall move to the bottom most picture I've done. It's the cheerful looking plauge-monk at the bottom."
You say, "Now as you can see, I've done the front half using the techniques I've talked about in class, while the back I've just done in a straight simple line."
Piccillo continues, "Notice that shading and lineweight can do more than add just solidity to the lower pic. I used it to suggest mood...the shadows surrounding the head make the head itself stand out, more striking that way. And darkened shadows around the eyes makes the picture more sinister.
You say, "Putting dark next to light this way is called 'contrast'. It used to make key elements in a picutre stand out."
Yasha-Myr subtitles... "Is there a way to do the shading wrong?"
Yasha-Myr subtitles... "Too many lines or not even?"
Piccillo nods, "You can overuse it. Making the picture all dark is as bad as making it all light - nothing will stand out."
Rox goes, "Shadows in th'wrong places doesn't look good either."
Yasha-Myr subtitles... "And whats line weight? I missed that"
You say, "Even lines will come with practice - your first sets will be a bit shakey. but as you use it and grow in confidence your shading will improve."
You say, "I'll go over it in the summation Yasha, and can chat with you after class about it - or send you the logs."
You say, "Now, any questions before I begin to sum up today's lesson?"
Piccillo nods and beins to wrap up the class. "Using line weights and cross hatching, we've seen we can use it to add depth to our artwork."
You say, "Artwork is a visual medium, and while you can use what you want when you feel like it remember that you can suggest to others as well as display - these techniques will help suggest to the person looking at your work a living breathing object."
