Visual Language Core

VISUAL LANGUAGE CORE
Select content from several contemporary curricula including

the Waichulis Language of Drawing, Language of Painting
and Visual Language Programs.
(PART I)
TABLE OF CONTENTS
–– Waichulis Language of Drawing
–– Waichulis Language of Painting
Introduction ........................................................................................................................................................................................4
How to Use this Book.........................................................................................................................................................................6
Dry Media Materials...........................................................................................................................................................................7
Dot and Line.......................................................................................................................................................................................12
First Marks – Origin Destination Exercises....................................................................................................................................14
Shape....................................................................................................................................................................................................31
Shape Replication Exercises..............................................................................................................................................................32
Shape Replication Exercises – Bargue Plates..................................................................................................................................47
Line Exercises – Bind Contour.........................................................................................................................................................59
Gesture Drawing................................................................................................................................................................................61
Value – Hatching and Cross-Hatching...........................................................................................................................................67
Value – Gradations............................................................................................................................................................................76
Pressure Scales I-Darks.....................................................................................................................................................................81
Pressure Scales II-Lights...................................................................................................................................................................84
Pressure Scales III..............................................................................................................................................................................85
Pressure Scales IV-A.........................................................................................................................................................................86
Pressure Scales IV-B..........................................................................................................................................................................88
Gradations – Gradation Block.........................................................................................................................................................90
Gradation Block Model Sheets.........................................................................................................................................................94
Gradations – Gradation Patterns.....................................................................................................................................................97
Gradation Patterns Model Sheets..................................................................................................................................................102
Drawing from Observation............................................................................................................................................................105
Ways to Measure..............................................................................................................................................................................106
Ways to Measure – Comparative Measurement...........................................................................................................................109
Ways to Measure – Envelopes........................................................................................................................................................113
Ways to Measure – Sight-Size........................................................................................................................................................115
Ways to Measure – Grid..................................................................................................................................................................118
Additional Grid Walkthrough........................................................................................................................................................121
Form..................................................................................................................................................................................................125
Form Build Exercises.......................................................................................................................................................................148
The Sphere – Phase I........................................................................................................................................................................152
Sphere Outlines................................................................................................................................................................................154
The Sphere – Phase II......................................................................................................................................................................155
The Sphere – Phase III.....................................................................................................................................................................157
Drawing the Value Sphere in Graphite.........................................................................................................................................158
The Cylinder – Phase I-A...............................................................................................................................................................164
The Cylinder – Phase I-B................................................................................................................................................................167
The Cylinder – Phase I-C................................................................................................................................................................169
The Cylinder – Phase II – Ellipse Chart........................................................................................................................................170
Ellipse Chart Reference Sheet........................................................................................................................................................173
The Cylinder – Phase III.................................................................................................................................................................175
The Cylinder – Phase IV – The Cylinder Wheel.........................................................................................................................176
The Cylinder Wheel Reference Sheet............................................................................................................................................178
TABLE OF CONTENTS
The Cylinder – Phase V...................................................................................................................................................................179
The Cone – Phase I-A.....................................................................................................................................................................182
The Cone – Phase I-B......................................................................................................................................................................185
The Cone – Phase I-C......................................................................................................................................................................186
The Cone – Phase II.........................................................................................................................................................................188
The Cone – Phase III – The Cone Wheel.......................................................................................................................................189
The Cone Wheel Reference Sheet..................................................................................................................................................190
The Cone – Phase IV........................................................................................................................................................................192
The Cube – Phase I-A......................................................................................................................................................................194
The Cube – Phase I-B......................................................................................................................................................................197
The Cube – Phase II.........................................................................................................................................................................198
The Cube – Phase III – The Cube Wheel......................................................................................................................................200
The Cube Wheel Reference Sheet..................................................................................................................................................201
The Cube – Phase IV........................................................................................................................................................................202
The Gauntlet.....................................................................................................................................................................................205
Bargue Plate Walkthrough..............................................................................................................................................................206
Bargue Plates....................................................................................................................................................................................212
INTRODUCTION
The following content has been assembled from numerous sources including (but not limited to) The Waichulis
Curriculum: Language of Drawing, Language of Painting, Visual Language I,II and III, Lessons from the Da Vinci
Initiative, and the Sadie Valeri Atelier.
The Waichulis curriculum is a comprehensive visual arts training program developed by professional artist/educator
Anthony J. Waichulis. The program is an effective system of deliberate practice designed to develop adaptable skills that
facilitate many aspects of successful visual communication. With a strict schedule of carefully calibrated exercises, artists
experience significant development in a number of relevant domains including, but not limited to, visual spatial skills,
visual analysis skills, visual integration skills, fine motor control, automaticity, strategic planning, information synthesis,
and procedural fluency.
For those of you that may not be familiar with the idea of Deliberate Practice:
(the following is adapted from the article, Deliberate Practice: What It Is and Why You Need It by Corbett Barr.)
To learn any new skill or gain expertise you need to practice, practice, practice. There isn’t much debate about that. But
here’s what you might not know: scientific research shows that the quality of your practice is just as important as the
quantity. And, more interestingly, these scientists also believe that expert-level performance is primarily the result of
expert-level practice NOT due to innate talent. This concept is known as deliberate practice, and it’s incredibly powerful.
First, let’s look at what the experts have to say. This is from K. Anders Ericsson, a psychologist and scientific researcher out
of Florida State University in the paper titled The Role of Deliberate Practice in the Acquisition of Expert Performance:
“People believe that because expert performance is qualitatively different from normal performance the expert performer
must be endowed with characteristics qualitatively different from those of normal adults. This view has discouraged
scientists from systematically examining expert performers and accounting for their performance in terms of the laws and
principles of general psychology.”
“...We agree that expert performance is qualitatively different from normal performance and even that expert performers
have characteristics and abilities that are qualitatively different from or at least outside the range of those of normal adults.
However, we deny that these differences are immutable, that is, due to innate talent. Only a few exceptions, most notably
height, are genetically prescribed. Instead, we argue that the differences between expert performers and normal adults
reflect a life-long period of deliberate effort to improve performance in a specific domain.”
In other words, it’s not about what you’re born with. It’s about how consistently and deliberately you can work to improve
your performance. The importance of a few obvious genetic differences like height can’t be denied within some areas of
expertise (basketball or horse jockeying, for example), but in most other areas motivation and deliberate practice can
overcome even differences in cognitive abilities (brain power).
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INTRODUCTION
Introducing Deliberate Practice
Deliberate practice is a highly structured activity engaged in with the specific goal of improving performance. It is different
from work, play and simple repetition of a task. It requires effort, it has no monetary reward, and it is not inherently
enjoyable. When you engage in deliberate practice, improving your performance over time is your goal and motivation.
If you want to gain skills rapidly or approach expert-level status at something, you must understand the importance of
deliberate practice and learn how to incorporate it into your daily life.
The Four Essential Components of Deliberate Practice
1. You must be motivated to attend to the task and exert effort to improve your performance.
2. The design of the task should take into account your pre-existing knowledge so that the task can be correctly
understood after a brief period of instruction.
3. You should receive immediate informative feedback and knowledge of results of your performance.
4. You should repeatedly perform the same or similar tasks.
It’s important to note that without adequate feedback about your performance during practice, efficient learning is
impossible and improvement is minimal. (more on this to follow.) Simple practice isn’t enough to rapidly gain skills.
Mere repetition of an activity won’t lead to improved performance.
Your practice must be: intentional, aimed at improving performance, designed for your current skill level, combined
with immediate feedback and repetitious.
Remember that it is how you practice matters most. To benefit from practice and reach your potential, you have to
constantly challenge yourself. This doesn’t mean repeatedly doing what you already know how to do.
This means understanding your weaknesses and inventing specific tasks in your practice to address those deficiencies.
It is also important to remember that how long you persevere determines your limits. Becoming an expert is a marathon,
not a sprint. You cannot reach your mental and physical limits in just a few weeks or months. To grow to the top of your
game, you’ll have to persevere for years. Your practice has to be deliberate and intense, but it also has to be carefully
scheduled and limited in ways to avoid burnout and long-term fatigue (both mental and physical).
And lastly, I would remind you that motivation becomes the real constraint on expertise. Effective practice isn’t usually fun.
It’s an investment into improving yourself, your skills and your future. In order to practice with intention for long enough
to become an expert or gain useful skills, you have to find the motivation to make the investment.
5
HOW TO USE THIS BOOK
The Visual Language Core content is a collection of exercises designed to develop visual literacy and communication
skills in the most effective and efficient manner possible. Echoing the same rational sequence of skill building from the
celebrated Waichulis curricula, The Visual Language Core aims to assist a motivated individual in the development of
visual literacy and communication skills that will allow participants to successfully interact and contribute to a global
environment that is increasingly dependent on visual stimuli. To make sure that you are getting the most of this resource
there are a few things you should know:
1. The order of these exercises are in line with the strategic sequencing of the Waichulis curricula (WC). Both the dry and
wet media sections of this resource repeats the same journey connecting dots with line, configuring lines into both shapes
and values, marries value to shape to yield form, and then ignites each element with the magnificent contributions of
color. (Dot-Line-Shape-Value-Form-Color-Form.) IT IS EXTREMLY IMPORTANT THAT ONE APPROACHES THESE
EXERCISES IN THE ORDER IN WHICH THEY ARE PRESENTED.
2. It is very important to understand that the majority of this text is taken directly from the WC: Language of Drawing and
Language of Painting. As such, many of the exercises are geared towards traditional media—specifically charcoal, pastel
and oil. We do understand that many in possession of this text may not have access to the aforementioned materials and
may need to be creative in how they adapt the lessons to what they DO have. These same exercises can be adapted for use
with graphite (which we do mention in several key places), pen, crayon, etc. Do your best to make what you have work. Be
creative.
3. It is also important to understand that you may not have access to the type of immediate and knowledgeable feedback
that is recommended for effective deliberate practice. It is our hope that the configuration and sequencing of the exercises
can allow the practitioner to reasonably assess success. The goals for each exercise should be very clear and each new
challenge builds on a successful competition of a prior one. If you move through the exercises with haste you will indeed
face diminishing rewards to significant frustration. Building skill takes significant time and effort. There are no short cuts.
4. Lastly, I would like to mention that this resource is intended to be relatively organic in nature. It is my hope that feedback
from practitioners and educators will lead to many augments and updates. Be sure to check http://anthonywaichulis.com/
resources/ to make sure that you have the most recent version of this text.
We wish you all every continued success.
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DRAWING PAPER
We recommend paper specifically made for charcoal or pastel. It should have a tooth, or ‘surface
texture’, that is capable of holding a fair amount of compressed charcoal and pencil grade pastel. A
paper that is too smooth will allow much of the charcoal or pastel to fall away; a surface that is too
coarse may wear down the materials far too quickly. Test your chosen paper by applying some black
charcoal and white pastel to it and see how well they adhere. You will notice from the examples
shown on the DVD that we do not use a pure white paper. To accommodate both black and white
equally, we recommend a mid-value paper. This will allow you to demonstrate a noticeable, full range
of both black and white. We also highly recommend using a blue-based paper as it is most analogous
to the average blue-based grays produced by the mixing of black charcoal and white pastel.
CHARCOAL PENCIL
Choose the softest compressed charcoal pencil you can find. We start with the softest pencil available
for a number of reasons. First, the softest charcoal will give you the greatest range of value. Generally,
hard pencils will not get as dark as the soft ones. Harder charcoals do play a part in our procedure,
but not until later stages. Second, the softer materials provide a much better challenge for developing
‘pressure control’, thereby maximizing the effectiveness of your earliest exercises. Third, by beginning
each drawing with the softest charcoal and the lightest touch, we reduce the risk of damaging the
drawing surface. Most people have experienced the frustration of trying to remove a heavy mark
or line that was just not right; it refuses to erase or leaves an indentation of where it was originally.
Proper control with our soft pencil will greatly reduce the chance of that problem occurring.
WHITE PASTEL PENCIL SHARPENING TOOLS

For all the same reasons as the charcoal How to best keep points on pencils is a choice
above, choose the softest white pastel pencil we leave up to the individual. Some people
available. However, you will find that most like to carefully sharpen with a razor and
white pastel pencils seem somewhat similar sandpaper, while many others are inseparable
in their softness. from their electric sharpeners. Each method
has pros and cons, so use whatever means
serves you best.
7
PENCIL EXTENDERS KNEADED ERASER
While not required, pencil extenders can be The kneaded eraser is our eraser of choice. To
quite useful when your pencils become too use, first be sure that it is clean and not filled
small for you to control effectively. Be sure with excess charcoal, pencil, or other debris.
to check that the extenders you find fit the If it is, knead it like dough, until it appears
pencils you chose, as all extenders do not fit clean. Proceed to dab up the undesired mark
all pencils. by pressing and lifting the eraser off the paper.
Do not rub! Rubbing may adversely affect the
tooth of the paper. When the eraser begins to
look dirty again, knead until clean. Repeat this
process until your mark is completely removed.
DRAWING BOARD/EASEL
We recommend working at the easel with your paper clipped to a
drawing board. Working on a flat surface presents some problems
you should be aware of. For example, many people have a tendency to
support their weight on their arms and hands when working on a flat
surface. Heat and moisture can build up as your hands press or rest
on the paper, thereby damaging the surface. In addition, this position
can interfere with the ability to control pressure effectively. Drawing
flat may also cause minor perspective distortions in your work. If you
do not have access to an easel, leaning a drawing board at an angle
(approximately 45 degrees) against something may alleviate some
of these issues. If you choose to hold your drawing board when you
draw, be mindful that excess charcoal is not falling onto your lap.
MAHL STICK TAPE AND VARIED CLIPS

Mahl Sticks are poles of varied lengths often Tape and Varied Clips are utilized throughout
approximately three feet long. This tool is the program to secure drawing surfaces to
used to support and steady your hand when drawing boards, orient model sheets and other
drawing details. In addition, it prevents reference near your drawing area, and for other
you from accidentally leaning against your similar tasks. Be careful not to adhere tape of
artwork. To use, hold the stick end in your use clips on the image area of your drawing
non-drawing/painting hand and, crossing the surface. Your intended drawing area should
stick in front of your drawing/painting area, always remain clean and free of adverse marks.
rest the stick on the edge of your easel. You
can then balance your drawing hand against
the stick in front of you.
8
JOURNAL
Another invaluable tool is the journal. We find that the artist’s journal can act as a vital
mechanism to bring focus to your creative direction. While a great deal of this training
program centers on building technical skills, we believe that the artists’ true potential
is realized by an equal emphasis on the development of creative concepts. From jotting
down simple ideas, to quick sketches, studies, or notes, the contents of the journal are
completely up to the individual. It is often these very pages that slowly reveal a personal
visual vocabulary which will eventually define a unique voice.
BRUSHES AND STUMPS

Brushes, Stumps, Tortillions and other blending materials: While there are many highly
useful blending tools available to the artist, the Ani Art Academies Core training program
makes very little or no reference to them within the main exercises. All of these materials
may be explored early on, but it is highly recommended that such exploration is done within
controlled exercises like the gradation blocks or even pressure scales. This exploration
of additional blending materials should not substitute for any exercise or step within the
program, rather it should be done as a supplementary endeavor. Again, be sure to experiment
with any tools extensively and understand the effects of their use thoroughly before use in any
artistic effort.
Tortillions and stumps (also known as torchons) are paper tools intended to manipulate dry
media such as graphite. While both tools have similar properties, small differences in their
structure can lead to very different results. As always, I recommend experimenting with both
to discover how each may contribute to your process.
Tortillions are made from twisted paper which tapers to one end. The name ‘tortillon’ comes
from the French “tortiller,”meaning “twisted.” Tortillions are often far more stiff than stumps
and will carry many of the same advantages and disadvantages inherent to harder drawing
tools. For example, the tortillion will typically have a smaller contact surface and a more
resilient point. However these properties also carry an increased risk of damage to the tool or
drawing surface from excessive pressures and friction.
Stumps are solid cylinders of paper pulp with tapers or points at both ends. Stumps are often
longer and far more bulky than tortillions. They will have a less resilient point and a slightly
greater contact surface. As such, the stump will often carry or move more material compared
to the smaller, harder tortillion.
DIVIDERS AND RULERS

Dividers and Rulers are tools used for measuring throughout the
program. It is advised to keep these tools nearby while immersed
in the program as we place a great amount of emphasis on
accuracy.
9
GRAPHITE
Graphite came into widespread use following the discovery of a large graphite deposit
in Borrowdale, England in 1564. As the story goes, a passerby found bits of a shiny,
black substance clinging to the roots of a fallen tree. The whole countryside was
abuzz with talk about this mysterious mineral, which eventually came to be known as
“plumbagoi” or, more commonly, “Blacklead.” They found it left a dark mark, making it
ideal for writing and drawing, but so soft and brittle, some type of holder was required.
Initially, they wrapped graphite with string. Later, the graphite was inserted into
hollowed out wooden sticks. The wood-cased pencil was born!
In 1795, a French chemist named Nicholas Jacques Conté patented a new process for
making graphite pencil leads. This method mixed powdered graphite and clay in a
water slurry, then formed sticks which hardened in a kiln. These composite graphite-
clay “leads” allowed for more efficient use of graphite and revolutionized the pencil
industry. Not only did the formula reduce costs, but by adjusting the ratio of clay
and graphite powder, the changing hardness allowed more control of the lightness
and darkness of the graphite mark left on the paper. It’s proved a win-win for creative
expressionists ever since!
Graphite came into widespread use following the discovery of a large graphite deposit
in Borrowdale, England in 1564. As the story goes, a passerby found bits of a shiny,
black substance clinging to the roots of a fallen tree. The whole countryside was
abuzz with talk about this mysterious mineral, which eventually came to be known as
“plumbagoi” or, more commonly, “Blacklead.” They found it left a dark mark, making it
ideal for writing and drawing, but so soft and brittle, some type of holder was required. Initially, they wrapped graphite with string.
Later, the graphite was inserted into hollowed out wooden sticks. The wood-cased pencil was born!
In 1795, a French chemist named Nicholas Jacques Conté patented a new process for making graphite pencil leads. This method
mixed powdered graphite and clay in a water slurry, then formed sticks which hardened in a kiln. These composite graphite-clay
“leads” allowed for more efficient use of graphite and revolutionized the pencil industry. Not only did the formula reduce costs, but
by adjusting the ratio of clay and graphite powder, the changing hardness allowed more control of the lightness and darkness of the
graphite mark left on the paper. It’s proved a win-win for creative expressionists ever since!
Most graphite pencils manufactured today are rated according to either a European or an American hardness grading scale. The
European system is often attributed to an early 20th century pencil manufacturer while the American system is attributed to both
Conté and 19th century pencil maker John Thoreau.
The European system uses a 20-step scale that employs the numbers 2 through 9 along with the letters H, B, and F to communicate
the material’s clay to graphite ratio. A graphite rod with a high clay content results in a harder material (H) while a rod with a
lower clay content will be softer, allowing for a greater range of “blackness” (B). The (F) designation, which is near the center of
the hardness scale, is often thought to mean “fine point”—however, some argue that the letter was employed by manufacturers
arbitrarily. The European scale ranges from the hardest (9H) to the softest (9B), with grades H, F, HB, and B populating the middle
of the scale.
The American system is a much smaller scale with numbered steps ranging from 1 to 4. Higher numbers are used to indicate
harder graphite rods. The two systems can be aligned at the following scale points: 1 with B, 2 with HB, 2.5 with F, 3 with H and 4
with 2H.
To understand how one graphite hardness grade might provide an advantage over another we will need to consider our drawing
surface, method of application, and desired finish. Rougher drawing surfaces can typically accept and hold more loosely-bound,
soft material while smoother surfaces can facilitate the fine marks of well-bound, harder material without the need for surface
“bite”. Softer graphite will provide a greater value range potential at the cost of a greater tooth requirement and a quickly eroding
point. Harder graphite requires less tooth and can better maintain a point. However, these clay-rich grades yield a more narrow
value range and an increased potential for drawing surface damage if used with a heavy hand.
10
Within my drawing curriculum, artists are instructed to begin each drawing endeavor with the softest material available to them
for a number of reasons. In addition to the potential for a greater value range, softer materials applied with light pressure offers a
reduced impact on surface tooth during the earliest stages of a drawing endeavor. This can be advantageous for layering techniques
as well as the effective removal of unwanted marks as the drawing develops. I employ harder pencils in the later stages of a
drawing--not in the broad application of material inherent to the early stages of a tonal work--but in specific surface-refinement
tasks such as guiding previously applied, softer material into the troughs of a paper’s tooth.
In the majority of cases, you will not require the full continuum of grades. I would recommend one pencil from each end of the
continuum along with one mid-range grade to start. Experiment carefully and allow your results to determine which additional
grades would serve your process best.
What should I look for or consider in a good set of graphite pencils or sticks?
As with all other art materials, you will want to choose the specific materials that best facilitate your personal creative process.
Graphite pencils can vary widely in quality so be sure to research available product reviews when possible. Poor quality pencils
can be prone to breakage, produce inconsistent or unpredictable tonal qualities, and may even result in significant damage to your
drawing surface. Remember that even though a particular product line may have a good reputation, mistakes and accidents in
manufacturing and distribution can and will happen. Defects in the wooden pencil housing or even in the centering of the graphite
core can severely impact pencil function. Carefully inspect all loose pencils for any visible damage prior to purchase.
If purchasing boxed sets, take time to carefully inspect the packaging. Damage to the material packaging can indicate possible
damage to the fragile graphite core. Taking a few minutes to ensure that your materials are in tip-top shape will reduce
inconvenient and frustrating experiences at the easel or drawing board.
You should also expect to find significant variation among different manufacturers’ product lines. Understand that an HB pencil
from one manufacturer will not necessarily produce the same marks as an HB pencil from another. While many manufacturers
may share the same grading scale, internal standards and production dynamics can lead to significant hardness differences. Keep
this in mind when replacing certain grades within your particular pencil set.
11
DOT & LINE
Line Exercises
dot1 line1
/dat/ noun /l n/ noun
1. a small mark indicating 1. a line in motion.
a point in space.
straight
curved
Lines can be straight or curved. They are often defined by their relative direction (horizontal, parallel,
perpendicular, diagonal). Lines can be configured to produce patterns, shapes, as well as values.
wavy
zigzag
spiral
Groups of Lines to communicate

value
12
LINE EXERCISES
confident line
unconfident line
The ability to apply a confident line is one of the most basic skills required for successful draftsmanship.
Unfortunately, many first approach the line or lines in a very unconfident, and “scratchy” manner. Applying
line in this way may work for some tasks, but in most endeavors – such line will produce problematic effects.
To develop confident line we can start by attempting to successfully connect dots of varying distance.
13
FIRST MARKS
ORIGIN DESTINATION LINE EXERCISES
First Marks introduction taken from the Waichulis Curriculum Language of Drawing
Goal: Introduction to dot, line, and their confident use.
Materials: Paper, Charcoal Pencil, Kneaded Eraser, Sharpener, Easel, Tape
What you need to know:
Our program begins with the introduction of a few very basic marks. These initial, simple
strokes will become the first pieces of a vast visual vocabulary. We will begin with the
compressed charcoal pencil. Again, make sure you are using the softest grade charcoal
possible. The sharpener should be utilized as needed.
Often at this point we are asked: “How should I hold the pencil?”. The obvious answer is
whichever way offers you the greatest amount of control for the task at hand. However, that
determination will probably require a little experimentation on your part.
The manner in which you grip the pencil will have an effect on your range of motion with
that tool. Generally, if you hold the pencil near the point, as most people do when writing,
you may have the tendency to use a more narrow range of motion. Holding the pencil in a
more relaxed manner, further from the point, may promote a wider, broader range of motion.
While both approaches will serve a useful purpose, large sweeping strokes may be more fluid
with a wide range or looser grip, while shorter strokes may fare better for a narrow or tighter
range.
The first two types of marks that we will explore are the dot and the line. The dot is simply a
tiny round mark that represents a point in space. The line is a continuous mark that moves
along a fixed direction. Both marks appear quite simple, but they are the basic building blocks
that will be used to construct a vast world of visual information.
Many beginning artists start to draw with a quite common unconfident scratching or
searching line as seen on the next page. This particular stroke method often demonstrates a
great deal of uncertainty. Artists using this type of line work will often attempt to refine it by
adding additional layers over the initial line with increasing pressure.
This method leaves us with lines that are adversely committed to the paper’s surface,
removing much of our ability to alter or develop in later stages. Rather, a light pressure,
confident approach to line work will leave you a great deal of freedom for easy correction
and consequent development. The type of line that serves us best at this stage should be very
deliberate from start to finish.
Our very first exercise will train you to execute just such a line. It is an exercise referred to
as the Origin Destination Line Exercise. We begin by establishing a start, or origin dot and a
finish, or destination dot. Proceed to then connect the dots with one confident straight line.
14
directions:
STEP 1
The first step in any drawing endeavor is to make sure our paper’s surface is clean and free of any imperfections. Any marring
or damage can cause a wide array of problems as we move forward. If your paper has two sides of varying tooth, begin with
the smoother side. We will use both sides of our paper, but a heavier tooth can often become a distraction at the onset of a new
exercise. It is also a good idea to have your instructor (if applicable) check your easel and paper orientation to alleviate any last
minute problems or oversights.
STEP 2
Begin the Origin Destination line exercise by establishing a grouping of dots that will
act as ‘starts’ and ‘finishes’ for each line. Try to make the dots somewhat random so that
the distances between the origins and destinations are varied.
STEP 3
With your dots in place, visualize the line you intend to make. Sometimes it is very
helpful to even take a few practice strokes when visualizing, much like a golfer would
in preparation for a swing. When you feel most confident, connect with the paper and
execute the line. Be sure to use the lightest pressure you possibly can.
This exercise is not to be limited to line work in any one direction. As you continue
on, be sure to execute the lines in multiple directions as shown on the right. The
more versatility you have in creating confident lines, the more freedom you will enjoy
throughout your drawing process.
ASSIGNMENT
Repeat the Origin Destination exercise until at least 2-3 full sheets of paper are filled (front and back).
Maximize your space to get as much practice as possible. If applicable, your Instructor can guide you
on how to make the most of your paper’s work area.
Each sheet of paper should be at least 20 x 20 inches. Be sure to use both sides. Many types of drawing
paper that we use for charcoal will have two different sides: A smoother side and a rougher one. While
these varying surfaces are designed to accommodate a wide variety of materials, it is good for you to
work on both sides with the same material. Your experience adapting to the changing surfaces will
enhance your versatility and ultimately increase your overall freedom within the drawing process.
15
LINE EXERCISES EXAMPLES
16
LINE EXERCISES
17
LINE EXERCISES
18
LINE DOT EXERCISES
place a series of dots on

a larger piece of paper
to really test your skills
with straight lines.
19
LINE DOT EXERCISES
Revisit after
Diagnostic
Wheel
place a series of dots on

a larger piece of paper
to really test your skills
with straight lines.
20
LINE EXERCISES
example
Good practice habits come from knowing what needs work. The Line Wheel Exercise is designed to identify which line directions
need practice. Start with a large circle (you can trace a paper plate or other similar sized circular object for this). Next, place a dot
at the center of the circle. Then, without using a ruler or turning the paper, draw a series of straight lines from the center dot to the
outer circle line. The drawing will start to look like a spoked wheel. When you have filled the circle with lines you may notice that
some lines are straight and some are wavy. The wavy lines are the line directions that you need to practice.
21
LINE EXERCISES
You can also try using

a drafting compass
to establish your
guiding circle!
A drafting compass (or pair of dividers) is a technical instrument that can be used for inscribing circles or arcs. As dividers,
they can also be used as tools to measure distances, in particular on maps. Compasses can be used for mathematics, drafting,
navigation, and other purposes. Compasses are usually made of metal or plastic, and consist of two parts connected by a hinge
which can be adjusted to allow the changing of the radius of the circle drawn. Typically one part has a spike at its end, and the
other part– a pencil, or sometimes a pen.
22
LINE EXERCISES
good!
these
need
practice!!!
23
LINE EXERCISES
practice whichever line direction was the

“waviest” on the wheel
(Practice Example)
24
the curved line
A curved line is a line that deviates from straightness in a
smooth, continuous fashion.
25
CURVED LINE EXERCISES
Try these curves shown within the guidelines and then without.
If this book is being shared please carry out exercises on a separate piece of paper.
26
27
28
Try these straight lines and curves shown within the guidelines and then without.
1 2
3 4
29
Try these straight lines and curves shown within the guidelines and then without.
1 2
3 4
30
SHAPE
First Marks introduction taken from the Waichulis Curriculum Language of Drawing
Goal: Use confident line to develop accurate shape.
Materials: Paper, Charcoal Pencil, Kneaded Eraser, Sharpener, Easel,
Ruler, Tape, Shape Replication Model Sheets
So far we have covered two of the most basic marks to be made – the dot and the line.
While developing the ability to generate deliberate confident lines, we have uncovered
a new element – shape. The addition of shape to our growing visual language adds a
wealth of possibility to what we can communicate. Let’s take a quick look at how we can
sketch out a vast array of shapes with a few simple line combinations. Notice how the
lines are executed very confidently in a variety of directions. This is one of the reasons it
was so important to vary direction during the Origin Destination Line exercise.
Let’s take a moment to view some finished drawings and uncover the collection of lines and shapes that
defined those drawings in their earliest stages.
31
SHAPE REPLICATION
The groundwork for achieving the technical precision seen here lies in the assured use of dot, line and shape. Our next skill
building exercise teaches you how to use confident line to develop accurate shape.
directions:
STEP 1
Gather the first set of Shape Replication models from your student
manual. Mount the model sheets onto your drawing board to the left of
your pre-determined drawing area. The models are on a clear surface so
we can use them as a corrective overlay later on to check your results. For
now you can adhere a piece of drawing paper to the back to give them an
opaque surface to rest on.
Make sure to have your instructor check your alignment of the model
sheet to your drawing area (if applicable).
STEP 2
Using your ruler, lay out squares that align with the outer boundary
boxes that house the shape models as seen in the example on the left.
Remember to keep all of your line work, including these outer boundary
boxes very light. The Shape models are illustrated darkly for purposes of
clarity, but make an effort to get in the habit of using light pressure for
all early line and shape work. Again, have your instructor check your
boundary boxes before moving on (if applicable).
STEP 3
After your boundary boxes are established, replicate the shapes you
observe as accurately as possible. Remember to visualize the line before
you connect with the paper. Try and see the shape where you intend to
illustrate it and then confidently make your marks. Don’t forget to keep
your pressure light.
32
STEP 4
When you are finished, lift your clear Shape model sheet from the paper
it is attached to and place it over your drawing. You should be able to
see any inconsistencies immediately. If your initial lines were applied
with adequately light pressure, you should be able to lift out errors with a
kneaded eraser to make corrections.
As you progress with the series of Shape models, they will become
increasingly complex. At this time you may choose to make use of a
measuring device like the dividers. You can measure where certain shapes
intersect with the boundary box and indicate it accordingly as a reference
point.
The last few shape models are not housed by the square boundary box. This removal of a static reference shape will force you to
adapt and seek out an alternative source for relative measurement. The dividers may prove very useful here.
Another aspect worth noting is that the later models in the series
incorporate curved lines. Early Shape models consist of strictly angular
lines and rectilinear shapes, but now we are faced with curved lines and
curvilinear shapes. However, our approach does not change. Our early
recording of these curved elements will still be drawn with straight,
confident, angular line. In later layers, we will refine curved contours
within the drawing process, but for now you can abbreviate the curves as
seen in the example shown.
ASSIGNMENT
Continue with the Shape Replication exercise by copying the entire series included in the student
manual. Repeat those you feel necessary until you are as accurate as possible. If applicable, follow your
instructors guidance in regards to repeating any that he or she feels is beneficial to your development.
You may increase the challenge of this particular exercise by layering shape replication model sheets
or sizing up your drawings of the Shape models while maintaining accurate proportion. Be sure to ask
your instructor for more information on increasing the challenge in this manner.
33
CIRCLE CONSTRUCTION
Taken from Sadie Valeri Atelier curriculum. Circle Construction
1
Draw a square with multiple Draw a second square and slice off 8 2 Draw a third square, slice off the Use your retractible eraser and
strokes of long, soft, erasable the 4 corners. Check to make sure 4 corners, and then slice off the a VERY sharp, hard pencil to to
7 3
lines. the 8 triangles are all the same size 8 new corners. You will start to refine your lines to a perfect
and shape. 6 4 see a rough circle. circle.
5
Repeat the exercise for three rows on one

sheet of 14 x 17 inch paper.
Continue to repeat the rows on additional

sheets of paper until your final circle is
symmetrical.
34
SHAPE REPLICATION EXERCISES
35
36
37
38
39
40
41
42
SHAPE REPLICATION EXERCISES EXAMPLES
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
SHAPE REPLICATION EXERCISES EXAMPLES
58
LINE EXERCISES
BLIND CONTOUR
Another fun line exercise is Blind

Contour Drawing. Contour is another
way of saying “outline”. Blind Contour
Drawing exercises the way your eyes and
hands work together. Look at a subject,
and without lifting your pencil from the
paper, try to draw the outline. DO NOT
LOOK AT THE DRAWING UNTIL YOU
ARE FINISHED!!!
Blind Contour drawings can look VERY funny. However, if you practice you
will be surprised at how good you can get!
59
LINE EXERCISES
BLIND CONTOUR
A very common subject for a
Blind Contour Drawing is your
hand. Look at your hand and
without looking at the drawing
or lifting your pencil off the
paper, draw an outline of
your hand.
GIVE IT A TRY:
60
Gesture drawing is a very quick form of drawing that uses a “wandering” line (a continuous line created with a drawing
tool that rarely leaves the surface of the paper.) Imagine that you are describing an object with your hands as you talk to
someone – those hand gestures (the ones that describe the most basic visual “parts” that you feel are most important)
are very like the marks you make when Gesture drawing. The marks can wander and flow but should ultimately be
deliberate. While Gesture drawing can be used for any type of subject – it is most often used for figure or “life drawing”.
In addition, Gesture drawing is a great way to “warm up” before a drawing session.
61
the “wandering” or “roaming” line exercise:
With a light touch, try to fill the entire sheet with random “wandering” or “roaming” line that does not develop into a
recognizable pattern. Imagine a tiny fly roaming around in the air and leaving a trail of where it has flown.
62
Try NOT to repeat the same line or shape pattern. Instead try to keep it as random as possible.
Make every effort to keep the line path as random as possible!

63
As lightly as possible, try to fill the entire sheet with random “wandering” or “roaming” line that does not develop into a
recognizable pattern. Imagine a tiny fly roaming around in the air and leaving a trail of where it has flown.
The “wandering” or “roaming” line exercise can be done in just about any medium – however we rec-
ommend starting with either pen or pencil.
Jackson Pollock (1912 – 1956) was an influential American

painter and a major figure in the abstract expressionist
movement. He was well known for his unique style of drip
painting. If you study some of his work you may see some
similarity to the wandering or roaming line gesture exercises.
Number 14 (Gray), 1948 by Jackson Pollock
64
When you have a good feeling for creating free roaming line, use it to quickly capture the essentials of objects
or people in the classroom. Try to keep each Gesture drawing to under 1 minute.
EXAMPLES:
65
You can begin to add shape elements or outlines to your roaming line gesture drawings to start to get
something a little more recognizable. Here are some gesture drawings with shapes/outlines added:
These examples still have some roaming or wandering line but

they also contain some outlines and shapes. Experiment with
adding some shapes and outlines to your roaming line Gesture
Drawings and see what you come up with. Again, try to keep
your Gesture drawing under 1 minute!
66
VALUE
hatching and cross-hatching

You can also create values in different ways aside from continuous application.
Two such ways use ‘hatching’ lines. Hatching lines use different thickness, weight and distance to create values.
Lines farther apart – lighter value Lines closer – darker value
67
VALUE
hatching and cross-hatching
You can also use hatching lines that ‘cross-over’ each other. This value application is called cross-hatching.
Lines farther apart – lighter value Lines closer – darker value
68
VALUE
hatching
69
VALUE
cross-hatching
70
VALUE
hatching
Using the top scale as a guide, fill the bottom value scale with matching cross-hatched line value.
Try your best to match each value using any drawing tool that you like.
71
VALUE
cross-hatching
Using the top scale as a guide, fill the bottom value scale with matching cross-hatched line value.
Try your best to match each value using any drawing tool that you like.
72
VALUE – Relative lightness or darkness.
Lightness refers to the perceived intensity of light reflected off an object while brightness describes the perceived intensity of an actual light source. Darkness is
the relative absence of visible light.
PRINTED VALUE
CONTINUOUS APPLICATION
LOOSE HATCHING
LOOSE CROSS-HATCHING
73
VALUE
Shown here is a typical value scale. A value scale is a simple chart that illustrates a sequence of values arranged in even steps. Values towards the lighter range
are referred to as “high-key values”. Values in the middle of the scale are often referred to as “middle-key values” while darker values are “low-key values”.
The values scale shown is made from solid, continuous value application as opposed to values generated by line orientation. The steps were applied by inks of
various values. See if you can replicate these continuous value steps evenly in the boxes below with your choice of material.
74
VALUE
Like Shape, Value can be represented by the configuration of lines, continuous dynamic line application,
line weight, or a combination of all these factors. Below are a series of line configurations that can be used to
effectively represent value. These few examples are by no means exhaustive. Seemingly countless configurations
can be used to communicate value. Give some of these line patterns a try for yourself and see if you can come
up with a few patterns of your own on the right.
75
VALUE
GRADATIONS
A Gradation is a series of successive changes, stages, steps, or degrees. In fact, the value scales that we have been doing are, in
fact, a type of gradation. Each step in the scale is an even jump from one value to the next. If we make the jumps smaller then it
becomes a smoother gradation. If the jumps become greater then the gradation is more abrupt. You can describe many different
types of form and texture based upon the type of value gradation.
It is important to remember that everything we see around us is defined by light. As light interacts with an object it reveals a
collection of values that allows us to perceive its three-dimensional quality known as form. Understanding how light reveals
the world around us will allow us to communicate to the world in a way that others will understand. Artists ask themselves a
number of important questions about light when they begin to draw or paint.
How do the values perceived relate to each other?

How are the values observed changing?
Are there slow and smooth transitions from light to dark or fast and abrupt jumps?
Thinking about these questions will help you form a good plan for how to draw or paint something.
more abrupt gradation
smoother gradation
76
GRADATIONS
Gradations introduction taken from the Waichulis Curriculum Language of Drawing

Goal: Understand how value gradations define form.
Materials: None. Read the text below and investigate the examples.
Our visual vocabulary continues to grow as we move forward adding “Value”
to our salvo. While we have exercised a full range of value in the previous
exercises, we have kept the black charcoal and white pastel separate. Now
we bring these two contrasting elements together, creating a wide range of
controlled interactions. This new merging of material will give rise to transitions
or ‘gradations’ of value that will unlock a wealth of understanding about how we
perceive the world around us. It will give rise to a new element we will define as
“Form.”
Everything we see around us is defined by light. As light interacts with an object

it reveals a collection of values that allow us to perceive its three-dimensional
quality known as form. Our ability to understand the basics of how light reveals
the world around us will allow us to capture believable representations of
anything we choose.
Even at the earliest stages of our drawing endeavors, our artists are considering how the many lights and darks they observe are
interacting with each other. How do the values they perceive relate to each other? How are the values they observe changing? Are
there slow and gradual transitions from light to dark or fast and abrupt jumps? A simple analysis of the values you observe can
effectively reveal how to capture the forms they define.
Let’s take a look at how different value gradations can describe a variety of forms.
In the portrait drawing entitled “Gnomon” by Dan Christian, we see a

number of different value gradations describing a wide range of forms. Let’s
take a look at the change from light to dark on his right cheek. Notice the
relatively quick transition which illustrates that there is a somewhat abrupt
change in that particular form. Now compare that to the gradual shift from
light to dark on his left cheek. Here there is a less abrupt change in the form
and it is illustrated accordingly. The manner in which these value transitions
were recorded successfully describe the multitude of forms that define the
subject.
In Omar Rodriguez’s “A Given Sacrifice” we again see many varying

gradations from light to dark. Notice the fast jump from light to dark that
describes the interaction between the wall in the background and the edge
of the drapery in the foreground. Compare that with the extremely gradual
value transition that defines the protruding rock below the chalice. Again,
different rates of value change express vastly differing forms.
77
GRADATIONS
In the drawing “Easy, Lucky, Free” by Emma Hirst we can again observe an
array of descriptive gradations. As the surface above the skull’s eye transitions
into the socket, we see a somewhat quick jump in value; a fast rate of change
signaling a distinct change in surface. Again in contrast to this, we can see
how a gradual, slower rate of change successfully describes the form of the
skull’s forehead. Through careful observation and practice, we can use these
different value gradations to describe any visual aspect of our world to which
we set our mind.
78
VALUE
GRADATIONS
more abrupt gradation
Can you notice how the different rates of

gradation describe different forms? While
the shape of the square is unchanging, the
value gradations at the top seem to describe
something block – like or cube – like while
the smoother transition of value appears to be
describing something cylindrical.
smoother gradation
79
VALUE
GRADATIONS
Since we have already done quite a few value scales that have some larger jumps, let’s see if we can make a smooth
gradation that has much smaller and more subtle changes.
Do you think you can copy the gradation from the left rectangle into the right?
80
GRADATIONS
PRESSURE SCALES I – DARKS
Pressure Scales introduction taken from the Waichulis Curriculum Language of Drawing
Goal: Understanding the concept of value, pressure, and their confident use.
Materials: Paper, Charcoal Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Tape.
We have now explored several basic elements within our program. We have connected simple dots
with confident lines and configured a variety of lines into a wide array of shapes. Now, we will
endeavor to uncover a new element by using line in a completely different way. By grouping certain
linear strokes together we can form areas of relative lights or darks known as values, the level of light
or dark can be controlled by the proximity of these strokes to each other, the pressure on the material
applying the strokes, or any combination of the two. Lines placed closer together create a darker area
as opposed to the lines spaced farther apart.
However, values do not need to be comprised of many separate linear strokes. Value can be applied
with a singular continuous flow of static or dynamic pressure.
While lines and pressure can define value, pressure can also dictate the value of any individual
mark. With pressure playing such an influential role on the marks we make, our next exercise will
examine how we may best master it. One of the most valuable and challenging steps within this
training program is The Pressure Scale exercise. The goal of this exercise is to develop control of,
and sensitivity to, your drawing tools by performing seamless gradations of value in one continuous
motion.
directions:
Using your softest charcoal pencil, execute a value scale from dark (at the top) to light (at the bottom) by means of pressure control.
Beginning with maximum pressure to deliver the darkest dark, use a back and forth motion as you move down the page, reducing
pressure as you go until your pencil leaves almost no mark. Your scale should be about 1” wide and 2 to 2.5” long. Be sure to follow
all the rules listed below:
rules to follow:
1. Execute scale in a ceaseless motion from dark to light:
Carry out each pressure scale in a continuous motion. Once you begin the gradation, keep moving. Do not stop or linger in any
one place. Continue your forward motion until the scale is completed.
2. Do not lift your pencil from the drawing surface until the scale is finished:
Once started, do not lift your pencil from the paper until the scale is finished. In your efforts to use lighter and lighter pressure,
you may feel, or hear, yourself lifting the pencil away from the paper. This is quite normal, and with a little practice, eventually
overcome.
3. Do not reverse direction or go back and fix any mistakes:
Initially you will probably notice a good deal of jumps, breaks, or skips in your scale gradations. You may be tempted to stop or
change direction and fix these errors. Do not. Continue forward and move on to the next scale. With practice, you will find that
these ‘errors’ occur with less frequency as your pressure control develops. Continuing on in spite of your mistakes will also help you
to develop confidence in your drawing ability.
81
4. Maintain an even speed:
Early on you may find that tempo will vary. Your tempo may start fast and slow near the finish. Try to keep your pace even and let
your pressure determine the values.
troubleshooting
One of the reasons that this exercise is such a valuable training tool is that it offers an incredible amount of insight into your
existing drawing dynamic. Let’s look at some of the problems encountered within the Pressure Scale exercise and see what they
reveal about your approach.
Capping
By far, one of the most common initial issues, ‘capping’, occurs when there is a sudden jump from the initial
heaviest pressure at the start of the scale. Instead of a gradual evolution of value changes, the scale appears to
have a heavy cap at the top. Remember that even small changes in pressure will yield noticeable results in your
application of value. Concentrate on even, continuous, subtle adjustments right from the start of each scale and
you should alleviate this problem.
Tornado
The second most common problem is the ‘tornado’. Many people that have performed the pressure scale
exercise are surprised to see how they associate ‘lighter pressure’ with ‘shorter strokes’. They are not the same
thing. If anything, a constricting range of motion might actually promote a heavier pressure. This tornado
effect illustrates another major factor that may be interfering with overall control when drawing. Consciously
strive to keep your scales uniform and you should be able to overcome this effect.
Jumps
Big jumps within the pressure scale are usually quite obvious. They occur when values are skipped over, or
omitted, from your gradation. The values that are missing, that lead to these jumps, may also be eluding
you during your drawing process. Full value ranges allow us to add a wealth of dimension to our drawings.
Eliminating the big jumps in your pressure scales ensures that you can produce a full range of values when
you draw.
Stagnancy
Stagnant, or unchanging values within the pressure scale are another sign of our inability to demonstrate a
full range of pressure with the drawing tool. Make sure that you are starting with the heaviest mark, finishing
with the lightest, and moving through a full range of pressures in between. Not being able to execute a full
value range within the pressure scale exercise illustrates that we are probably missing out on invaluable tools
during our drawing procedure.
Lifting
Lifting usually occurs toward the lightest pressure ranges of the scale; areas of disconnected lines and spaces
signal the lift. You can address this problem by executing lengthy scales of the lightest pressure values you can,
ensuring your pencil remains on the paper. Don’t worry about values being stagnant when addressing a lifting
problem, instead, focus on the pencil staying in contact with the paper.
Working to alleviate all your pressure scale problems will greatly enhance your control during the drawing process. We depend on
the many of the benefits garnered from the pressure scale exercise and know that you will too.
ASSIGNMENT
Continue to perform this stage of the Pressure Scale exercise until at least 2-3 full sheets of paper are
filled (front and back). Maximize your space to get as much practice as possible. If applicable, your
instructor can guide you on how to make the most of your paper’s work area.
Each of these early scales should be approximately 1” wide and range from 1 1/2 to 2 1/2” in length.
Remember that each sheet of paper should be at least 20x20”. Be sure to use both sides of your paper.
83
GRADATIONS
PRESSURE SCALES II – LIGHTS
Goal: To adapt to new dynamics within the pressure scale excersise.
Materials: Paper, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Tape.
We are now introducing the White Pastel Pencil to the Pressure Scales 1 exercise. To maximize our
ability to adapt we will not only incorporate this new drawing tool, we will also change the overall
direction from the previous pressure scale. For this stage, begin the scale with the lightest pressure and
finish with the greatest as illustrated here.
When executing these first scales with the white pastel, take note of the characteristics that differ from
the charcoal. Notice how the pastel reacts differently to your pressure and drawing surface. A strong
familiarity with the behavior of each of your drawing tools will allow you to make more informed
decisions during your drawing procedure.
Should you find a great amount of difficulty adjusting to the new material and the change in direction
simultaneously, return to the earlier pressure scale direction until you become used to the dynamics of
the pastel.
directions:
Using the White Charcoal Pencil, perform the Pressure Scale 1 exercise in reverse, from lightest pressure to heaviest pressure.
Remember to follow all the same rules; to recap:
1. Execute scale in a ceaseless motion from dark to light.
2. Do not lift your pencil from the drawing surface until the scale is finished.
3. Do not reverse direction or go back and fix any mistakes.
4. Maintain an even speed.
ASSIGNMENT
Continue to perform this stage of the Pressure Scale exercise until at least 2-3 full sheets of paper are
Each of these early scales should be approximately 1” wide and range from 1 1/2 to 2 1/2” in length.
Remember that each sheet of paper should be at least 20x20”. Be sure to use both sides
of your paper.
84
GRADATIONS
PRESSURE SCALES III
Goal: Confident execution of seamless gradations within a full value range.
Now that we have experienced the dynamics of both the black charcoal and the white pastel we can combine them into the first
phase of the Full Pressure Value Scale exercise. All of the main parameters from the previous pressure scale exercises are still in
effect.
STEP 1
Begin with the basic charcoal pressure scale. Again, the size of this segment of the scale should be
comparable to your earlier scale exercises.
STEP 2
When the charcoal portion of the scale is complete, allow yourself approximately 1/2” of space from the
end of the charcoal taper and begin the white pastel pressure scale (Pressure Scale 2) as illustrated here.
Remember that the white pastel pressure scale reverses direction from the charcoal.
STEP 3
As the white portion of the full scale is finished you should notice that you now have an entire value scale
from dark black to the mid ground of your mid value paper to bright white. The entire scale should be
approximately 1 inch wide and anywhere from 4 to 5 1/2” in length.
ASSIGNMENT
Continue to perform this phase of the Full Pressure Scale exercise until at least 2-3 full sheets
of paper are filled (front and back). Maximize your space to get as much practice as possible. If
applicable, your instructor can guide you on how to make the most of your paper’s work area.
85
GRADATIONS
PRESSURE SCALES IV – A
Goal: To further narrow the focus of the pressure scale to yield additional value control.
The second phase of the Full Pressure Scale exercise continues to utilize a full range of value but introduces a guide that will narrow
the focus of our application. This guide will prompt us to apply pressure more deliberately and apply value more confidently.
directions:
STEP 1
Use a ruler to draw a 1x5” rectangle in the top left

corner of your drawing surface.
STEP 2
Once this initial rectangle is established, divide it into

five 1x1” squares by adding four horizontal lines at 1”
intervals. This is the layout for our 5 step Value Scale
Guide. If applicable, do not hesitate to speak with your
instructor should you require any assistance with this
step.
STEP 3
Using your charcoal pencil, proceed to evenly fill in the top square of the value scale guide with the darkest value you can achieve.
Altering the direction of your strokes will tend to yield a more even application.
STEP 4
Our next step will be to apply our lightest value in the square at the bottom of the value scale with our white pastel. By applying
the darkest and lightest values first, we establish reference points by which to judge the remaining values needed for the guide. This
practice of establishing reference or ‘anchor’ values first foreshadows an effective drawing strategy to be covered later on.
STEP 5
With the center square left blank, the second and fourth squares are applied as half-steps between the darkest and lightest values
and the center square as illustrated. This portion of the value scale actually provides a good experience in judging relative value. Be
sure your instructor checks your value estimations for the second and fourth square before moving forward.
86
STEP 6
Now that the value scale is established, we will use it as a guide to focus our pressure scales. To the immediate right of the value
scale, begin to execute a Full Pressure Scale. From the charcoal start at the top, the pressure scale’s value transitions or ‘gradations’
should align with the value scales roughly at the midway point of each square as shown. All of the parameters from the previous
Pressure Scale exercises are still in effect.
STEP 7
Use 1 value scale as a guide for no more than 5 pressure scales. Once five pressure scales are aligned to one value scale you must
create another value scale guide. This keeps your value scale guide from becoming too distant from your outermost pressure scales
and also incorporates a repetition of precision line work and value estimation.
ASSIGNMENT
Continue to perform this phase of the Pressure Scale exercise until at least 2-3 full sheets of paper are
instructor can guide you on how to make the most of your paper’s work area. Make every effort to
align each Full Pressure Scale exercise to the value scale guide. Use 1 value scale guide for no more
than 5 pressure scales. Remember that each sheet of paper should be at least 20x20”. Be sure to use
both sides of your paper.
87
GRADATIONS
PRESSURE SCALES IV – B
Goal: Focus your control of pressure and value into a single confident pressure line.
The final phase of the Full Pressure scale exercise introduces a new focus to one of our first visual elements, the Line. We will
now align Pressure Lines on either side of each pressure scale. Within the narrow focus of a single, line we execute all of the value
transitions occurring within the neighboring pressure scales.
directions:
STEP 1
We will repeat Phase 2 of the Full Pressure Scale
exercise but add an additional component. Begin the
same way: create the 5-Step Value Guide and beside it,
execute one Full Scale. Leave room enough between
the two for a line to be drawn. Move on to Step 2.
STEP 2
Next, create a Pressure Line to the left and right of your

Pressure Scale: use the Scale as a guide and replicate the
value gradation with a line of both charcoal and pastel.
Follow the same exercise parameters as the pressure
scale itself.
STEP 3
Continue to create 4 more Pressure Scales with a Pressure Line to the right of each one. You should have a grouping of one 5-Step
Guide with 5 Pressure Scales and 6 Pressure Lines.
ASSIGNMENT
Continue to perform this segment of the Pressure Scale exercise until at least 2-3 full sheets of paper
are filled (front and back). Maximize your space to get as much practice as possible. If applicable,
your instructor can guide you on how to make the most of your paper’s work area.
Make every effort to align each Pressure Line to the surrounding pressure scales. Again, the final
groupings for this phase should consist of 1 value scale, 5 pressure scales and 6 pressure lines.
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PRESSURE SCALES EXERCISES EXAMPLES
89
GRADATIONS
GRADATION BLOCK
Gradation Block exercise taken from the Waichulis Curriculum Language of Drawing
Goal: Replicate value gradations with specific value ranges and rates of change.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Tape,
Gradation Block Model Sheets.
Our first exercise to introduce the successful merging of black and
white is the Gradation Block Exercise. Here we will explore our
ability to replicate value gradations with specific value ranges and
rates of change.
directions:
STEP 1
Choose one of the Gradation Block Models provided. Align the model sheet directly next
to your drawing surface. If applicable, make sure your instructor checks your Model Sheet
placement before moving forward.
STEP 2
Establish a 4x4” square that will house the gradation. Keeping the gradation within a
predetermined shape prepares you for the way we will carefully add value to later line
drawings. Remember to use your softest pencil and lightest pressure for all initial line
work, even in these exercises.
STEP 3
Take a minute to study the ‘value range and rate of change’ of your chosen Gradation
Block Model. How light or dark are the values within the Model? Is it a fast or slow
transition from light to dark? How light or dark will the values of the gradation block
be? Considering these questions at the start will move you one step closer to confident
execution of the exercise.
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STEP 4
You can now establish any reference lines that may indicate a major value shift or
separation. Shown here by the line labeled ‘A”, this line will serve to indicate a major
light and shadow divide. Take special note of this line during this exercise as this labeled
boundary will also serve to illustrate the way we use ‘anticipation’ to create some very
successful gradations.
STEP 5
In the same manner that we begin to add value within any drawing endeavor, carefully
mass in the darkest value with our softest Charcoal Pencil. Values must be built up
carefully to avoid any adverse effects to the paper’s surface. Using very heavy pressure
right off the bat will potentially burnish or flatten down a good deal of the paper’s tooth
or surface texture. It is this tooth that allows us to build up multiple layers of charcoal if
needed. In some cases, when we know that an area will truly be the darkest dark, we may
use heavy pressure right from the start and establish it rather quickly, but for the purposes
of these early exercises, we would like to leave you with the most room for change and this
means preserving our paper’s tooth as much as possible.
As we continue to add more value and slowly increase pressure, our strokes continuously
change direction. These variations will keep our values developing evenly and help to
facilitate to a polished finish. As you will see, no blending tools, other than the pencils
themselves, will be used to achieve our rendered result. Varied stroke direction and
careful pressure control are all you really need to produce a pristine finish.
STEP 6
A key element for our successful merge of light and dark in this manner is anticipation.
Our shadow value is intentionally tapered past the shadow line (still seen by the letter
A). The tapering of charcoal will mix with the addition of white pastel to create our
basic gradation. In this approach, slower, more gradual gradations, will have a longer
tapering of early shadow values, while faster rate of change gradations may start shorter.
Remember, a crucial component for tapered application is pressure control.
STEP 7
Now add the white pastel. Just like the charcoal, care is taken to build up the white slowly with a pressure that is not too heavy.
Once again, this careful application minimizes damage to the tooth of the paper and gives us much more room to add subsequent
layers. Do not forget to continue to vary the direction of your strokes for an even application.
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STEP 8
Carefully taper the white down into the previously added charcoal. Take note of how the white pastel feels as it begins to mix with
the charcoal. Reduce pressure near the shadow line and taper a slight bit past. Again, longer tapers in both directions will yield a
slower gradation and vice-versa.
STEP 9
Start to alternate between the black charcoal and the white pastel. With each application, taper less and less until the major light
and dark separation occurs at our predetermined shadow line.
STEP 10
Constantly correct the gradation’s jumps, skips or inconsistent patches of value with each alternating layer. Continued practice
with controlling your pressure will make developing the gradation evenly much easier.
STEP 11
The level of ‘finish’ you are able to achieve will increase with your experience. It is important to note that the majority of our
refinement layers are done with light pressure and large strokes. This is not a task to rush. Patient passes over your drawing with
light pressure is an effective way to ensure a smooth final surface texture. With each gradation exercise you complete you will
become more familiar with the feel of the layering material and find yourself adapting your pressure to control it more successfully.
The finished result is a successful gradation of light to

dark that aligns with the Gradation Block model chosen
at the beginning of the exercise.
ASSIGNMENT
Continue to copy the full series of Gradation Block models included in your student manual.
Be patient and make every effort to make each gradation as ‘clean’ as possible. You may increase the
challenge of this particular exercise by increasing the size of the Gradation Block while maintaining
the value range and rate of change seen within the appropriate Gradation Block model. If applicable,
be sure to ask your instructor for more information on increasing the challenge in this manner.
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GRADATION BLOCK EXERCISES EXAMPLES
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GRADATIONS
GRADATION PATTERNS
Gradation Patterns exercise taken from the Waichulis Curriculum Language of Drawing
Goal: The successful marriage of shape and value.
Ruler, Gradation Pattern Model Sheets
This exercise increases the difficulty of our last exercise, the Gradation Block. Instead of the simple squares of the Gradation Block,
we add in the earlier challenge of Shape Replication. Before you is a collection of interlocking shapes populated by value gradations.
These various shapes and values band together to yield forms that will ultimately allow us to capture the world we see.
directions:
STEP 1
The Gradation Pattern exercise contains a series of Gradation Pattern Models of increasing difficulty. Choose a provided Model and
align it next to your drawing surface. If applicable, make sure you instructor checks your Model Sheet placement before moving
forward.
STEP 2
As with both the Shape Replication and the Gradation Block Exercises, establish an outer boundary block. For this particular
challenge we will be starting with a 5x4” rectangle. Again, as performed in earlier exercises, you can add any reference lines to signal
major changes in value.
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STEP 3
Begin to apply value in the same manner as the initial Gradation Block Exercise. You may notice that some of the dark values
contain subtle hints of light as in the example above. We approach such scenarios by continuing to establish our simplified pattern
of dark and adding the subtle light values later in subsequent layers.
Be mindful of the pressure you apply and its impact on the tooth of the paper. Remember to vary your stroke direction to ensure an
even application of value.
STEP 4
Just as in the Gradation Block exercise, taper your initial dark values past boundary lines in anticipation of the addition of white.
Remember that slower, more gradual gradations will have a longer tapering of early shadow values, while faster gradations may start
shorter. In this example you will notice that the top dark edge is tapered further than the bottom as its gradation is more gradual.
STEP 5
After initial dark values antapers are established, the white pastel is added. Once again, care is taken to build up the white slowly
with a pressure that is not too heavy. Strokes remain varied to ensure an even application. Continue to develop values in the same
manner as the Gradation Block exercise.
STEP 6
Here you can see the earlier mentioned subtle values within the dark area being added. Pay close attention to every value transition
throughout the Gradation Pattern exercise. Your efforts to capture these subtle values will greatly enhance your ability to illustrate
believable form.
STEP 7
Continue to refine your Gradation Pattern model drawing. Remember to maintain your value range and rates of change throughout.
STEP 8
When finished, feel free to carefully use your kneaded eraser to dab up any excess charcoal or pastel outside of your boundary box to
keep your exercise neat and presentable.
ASSIGNMENT
Continue to copy the full series of Gradation Pattern models

included in your student manual. Be patient and make every effort
to make each gradation as ‘clean’ as possible. You may increase
the challenge of this particular exercise by increasing the size of
the Gradation Block while maintaining the value range and rate
of change seen within the appropriate Gradation Block model. If
applicable, be sure to ask your instructor for more information on
increasing the challenge in this manner.
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GRADATION PATTERNS EXERCISES EXAMPLES
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GRADATIONS
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CONTINUES ON A NEXT PAGE
GRADATIONS
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REVIEW
As we prepare to continue with the next section, let’s take a moment to review many of the concepts and skill building exercises we
have explored thus far.
One of the initial marks we encountered was the line. Defined simply as a dot in motion, the line and its’ confident use was
explored though a challenging exercise known as the Origin-Destination Exercise.
With a basic understanding of line, we moved into a practice of grouping various lines together to give rise to a new visual
element...Shape. Shape Replication exercises began to train our eye to see more analytically and our mind to comprehend the
visual characteristics we started to notice. We began to consider size, distance, measurement, and relative perception while
learning to employ additional tools to assist in our observations, and ultimately, our drawing process.
Continued variation on the orientation of line led us to a new and challenging visual element to master...Value. Creating areas of
light and dark through the orientation of pressure controlled application could now offer a new invaluable tool that would bring us
far closer to capturing the world we perceive. We were introduced to a method of building confidence in the employ of dynamic
value through an extremely demanding series of exercises known as Pressure Scales.
With value added to our salvo, our focus turned once again to shape. A merging of the two visual elements, value and shape,
would yield a new exciting element...Form. Just as light visually describes a three dimensional world surrounding us, we can use
patterns of shape and value to replicate what we perceive and more. In the same manner that varied orientations of line give rise
to two dimensional shapes, values and shapes combine in varied orientations give rise to three dimensional form. Beginning
to understand and capture this three dimensional quality as defined by light makes our visual language that much greater.
Throughout the Gradation Block and Gradation Pattern exercises we began to see mild illusions of abstract form protruding out
from and receding into the drawing surface---almost serving as a representation of the artists potential struggling to emerge, just
under the paper’s surface.
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DRAWING FROM OBSERVATION
You should know that learning to draw is not only a matter of developing fine motor skills, but actually learning how to
see. For many, it is a surprise to learn that the way in which we see the world is not truly the way that it is. Our vision
does not operate just like a camera – rather, what we see is a biological construct that is subject to many neurobiological
and psychological influences. To better understand this, take a moment to examine the following illustrations that
demonstrate how our perception may differ from reality:
You may be surprised to

learn that both red bars Are the gray lines parallel?
are the same length. Check with a ruler to see.
Which side of the bar in the center is darker?

Would you believe that both are the same?
What these illustrations demonstrate is that everything we see is based on context. However, this does not mean that
we cannot capture a representation of the world with reasonable accuracy. We just need to use some devices to bridge
the actual states of the observable world with our perceptions of it. You may not realize it, but you have done this
already in some of your earlier exercises. Let’s look at some of these devices and consider which ones you have used
and which ones you have yet to try.
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DRAWING FROM OBSERVATION
distort
verb dis-tort \distort\
: to change the natural, normal, or original shape, appearance, or sound of (something) in a way
that is usually not attractive or pleasing
: to change (something) so that it is no longer true or accurate
Subject Distortions of Subject
Again, we can help to minimize distortions during the replication of a subject if we incorporate some devices
to measure the physical world and temper some of our subjective perceptions.
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One of the easiest ways to make sure that you are not distorting your drawing is to take some very general
measurements at the start that will act as a guide for you. This is called a visual survey.
The most common initial measurements of a visual survey include the greatest height and width of a subject. With just
those two measurements you can build a temporary boundary box by which you can more effectively maintain size,
shape, and proportional development. This idea should seem familiar as you have been using boundary boxes with your
Shape Replication exercises for some time. You may have noticed that the later Shape Replication exercises that did not
have boundary boxes were more difficult than those that did. It is not that the shapes were necessarily more complicated
(increasing the challenge), but that the bridging (the boundary box) was removed. This lack of a common bridging
device leaves our eye slightly less governed and far more prone to distortions.
We can then draw a guide shape

(square, rectangle etc..)
that the subject should fit into. This is
Measure the greatest length sometimes called an “envelope” as the
and width of your subject. drawing fits into the guide shape like a
*
(All measurements should be done from the same distance and
perspective to avoid distortions.) letter into an envelope.
* Be sure to keep your guide shape or “envelope” light so that it can be easily erased later on.
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You can make your bridging device (boundary box, envelope, space box, etc...) more helpful by adding
additional guidelines. You can add center lines, diagonals, or anything else that you feel can improve your
ability to judge and measure.
You can add light guidelines

to grow your visual survey to
For example, if your subject is four more accurately compare your
inches wide then we know that the center subject and drawing.
would be at two inches. We can then observe
what parts of the subject are in this center area You can add as many guide-
and make sure those same parts are in the lines as you like so long as the
centerline region of our drawing. guides do not become too
confusing. If your drawings
become very accurate, you
should try and use fewer
guidelines to continue to
train your eye!
Remember to keep all boundary guidelines very light so that they will not adversely affect your
artwork and can be removed easily.
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OK – so now we are aware of a few measuring devices and how we can use them. But what if we are drawing from an actual object
or “drawing from life” as some might say instead of something flat like a picture or photo? We can not just lay a ruler or a grid on
the object, can we?
Another great question! Well yes – you can measure something with a ruler or even set up a grid made of wire in front of an object
or scene. However, when “drawing from life”, many opt to use an envelope or boundary box with measurements made via the visual
survey. Let’s take a look at some ways they do this.
The first method is known as COMPARATIVE MEASUREMENT. Comparative Measurement is exactly what it sounds like. It is a
process of using one key measurement and comparing other lengths or widths with that key measurement to reduce proportional
distortion in your drawing development.
For example: if we were to take the approximate height of A, we may then discover (with a little investigation) that the two letters
b are about twice the height of A. So if A was approximately 2 inches high then the stacked letters b would be about 4 inches high.
We compared one measurement with another to find a relationship. With this information we could then draw this Ab graphic
with a greater probability for accurate representation.
COMPARATIVE MEASUREMENT
An artist can use just about anything as a measuring device as long as it is used consistently. Artists are often seen taking visual survey
measurements with the pencil they are drawing with, the paint brush they are painting with, or even their thumb.
To get accurate measurements for comparison, you need to make

sure that each measurement is made the same way–from the same
place. To do this, artists will sit in one fixed position and hold a
measuring tool (pencil, brush, etc..) with their arm outstretched
straight and their elbow locked.
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To make sure that all measurements are reliable, you will also want to measure with one eye closed. Measuring with different
eyes may give you different measurements. To test this – hold out your thumb at something in the distance. Now take turns
using your left then your right eye to look at your thumb. Do you see how your thumb seems to move against the background?
We can eliminate some of the problems with this by always measuring with the same eye.
The first measurement and comparisons are usually the overall height or width of a subject. The relationships between these
two dimensions should be carefully considered before recording. Once you feel pretty confident about the measurement(s) you
can use the height/width ratio to build a boundary box or the start of an envelope.
While sitting or standing up straight from a fixed position, hold
out a measuring tool with your arm outstretched and elbow
locked. Align the top of your measuring tool with the top of
your subject and move your hand to the bottom of the tool so
that it aligns with the bottom of your subject.
There! You now have a rough first measurement for overall
height. You can now measure the width for comparison.
Again, be sure that all measurements are taken from the same place,
with your arm in the same position (even though your hand may
rotate) and with the same eye.
You can now generate your guide shape or “envelope” from your basic height and width measurements. You can also add
additional lines like center lines if you feel that they may help. With a basic relationship between overall height and width
garnered, we can establish a boundary box or envelope that reflects this relationship.
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So now that we have a general boundary box or envelope, we can continue to measure the subject for other useful
relationships. For example:
1. The overall width of the vase is the same as:
2. The base of the design to the lower lip of the vase top.
3. It is the same distance as the top (ends) of the vase’s central

graphic to the vase’s base.
4. Approximately half of the width of the overall vase is close to

the height of the upper cylindrical portion of the vase.
5. Approximately half of the width of the overall vase is close to

the distance from vase center to outer handle edge.
With comparative measurement you can compare ANY two measurements from your subject to uncover new relationships or
confirm earlier ones. Let’s say you have a basic envelope or boundary box established for the vase shown above. The next step would
often be to add additional guide-lines that are comprised of two measurement comparisons.
Take you time and investigate throughly!
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Here are two exercises for you in comparative measurement. See how many measurement relationships you
can find in this drawing from French painter and lithographer Charles Bargue:
Next, find an object in the room you are in and visually study it. From your location, and with only a pencil or
other simple measuring device, see how many measurement relationships you can find.
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ENVELOPES
While the boundary boxes tend to limit the artist to only 4 sides, the envelope allows the artist to use more complex polygons to
plan out the boundaries of single subjects or even multiple subjects that are not encompassed well by square or rectangle.
Just like the boundary or space box, the envelope will police the overall size and proportion of the subject. Study the examples
below to better understand how envelopes should establish a rudimentary shape that the subject(s) may fit in a snug fashion – just
like an envelope.
This envelope is not well done because it crops

out too much from the pile of mushrooms,
and the envelope does not accurately describe
the overall shape of the mushroom pile.
This envelope is well done because it tightly

crops the mushrooms without cutting out
too much information. It does not have
extra white space inside the envelope.
This is a poor envelope because it leaves too much

white space. It does not crop tightly enough.
Be sure to keep the lines of the envelope extremely light just as with the earlier mentioned boundary
boxes and guidelines.
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ENVELOPES
Try to add envelopes around each of these drawings. Make an effort to use as few lines as possible in order to maintain a
simple envelope. It is OK if a tiny piece of a subject peeks out of the envelope as long as the majority of all structures are
contained within. Good envelopes should not use any curved lines.
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SIGHT – SIZE
Another successful system of measurement is the Sight-Size system. This system employs more
constraints than the Comparative Measurement system, but can deliver great accuracy.
115
SIGHT – SIZE
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SIGHT – SIZE
Red Lines: Determined by aligning with a measuring tool (stick, string) held outward with arms locked, and
shoulders straight from a pre-determined viewpoint.
Blue Line: Plumb line approximately indicated on the drawing surface with the aid of a plumb bob.
Green Lines: Greatest width of the observed subject’s mass. This is determined placing your thumbs at locations on
your measuring device where it seems to intersect with the contour of the subject at the subjects apparent width.
Purple Line: The center line location where the greatest width occurs. This can be determined by following a
horizontal path from subject to drawing parallel to the initial lines that determined height.
Yellow Lines: Indicators measured using the plumb line to find key subject markers.
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ANOTHER GRID OPTION
Grids are a great way to capture incredibly accurate line drawings quickly!
There have been a number of great artists throughout history that have used different types of grids to draw subjects accurately
from life. Grids made of wire or string were arranged into a frame that was then placed in front of the artist’s chosen subject. Just
like our gridded drawings, the artist would then draw into a matching target grid on his or her drawing surface. As mentioned
earlier, if the subject’s outlines in the target grid match the outer edges of the subject as seen through the source grid – the drawing
should have developed accurately.
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THE GRID II
1. ASPECT RATIO: Make sure the aspect ratio of your source grid and your target grid match. An
Aspect ratio is, very simply, the ratio of the proportional relationship between height and width.
To ensure that your aspect ratio is maintained for altering size from source to target, you can use your knowledge of fractions. If
math is not your thing, you can use a ruler to find a diagonal alignment.
For a math solution to determine an applicable size – factor your width and height to the lowest common denominator and you
will have your aspect ratio. Then to calculate a new size, multiply or divide the numerator and the denominator equally.
For example, if you have a painting that is 18’’x24’’, then you factor 18/24 to its lowest common denominator to understand the
ratio. Dividing 18/24 by 6, you get 3/4, or a 3:4 aspect ratio. If you have a 20’’x30’’ painting, or 20/30 = 10, which equals 2/3, then
you have a 2:3 aspect ratio. Your image will fit into any other 2:3 size area.
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THE GRID III
2. PROPORTIONAL CELLS: Make sure that the cells of your grid are magnified or shrunk
by the same factor as the overal image.
For the grid to maintain an accurate relationship between a source image and target area, all of the proportions have to be the
same. Therefore, we need to look to the chosen size of your source and target. Let’s say you chose to increase your target by a
factor of 5 and all of your grid squares on your source are 1”x1”. This would mean that the squares for your target grid would be
5”x5” (1x5=5). If your original squares were 1/2” x 1/2” then an increase by a factor of 5 would be a grid made of 2 1/2“ squares.
(1/2”x5=2 1/2”).
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ADDITIONAL GRID WALKTHROUGH
Taken from the Waichulis Curriculum Language of Drawing
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Tape, Di-
vider, Photo Reference, Grid.
STEP 1
A letter size sample grid of 1 x 1 inch squares may be found in your
student manual. The standard grid we employ is based on 1 x 1 inch
sections. You can alter this size if you wish as long as your reference grid
and destination grid are identical. All students are highly encouraged to
start with the standard 1x1” squares to narrow their initial focus.
The included grid may be placed over your two dimensional reference
source, but must be adhered in some way as to prevent any type of
movement. Make sure that your method of adhering does not damage
your reference in any way or hinder the visibility of the grid or reference
material. Should you choose to execute a project that is larger than
the included sample grid you may choose to create your own with a
fine marker and acetate (you can find additional information regarding
creating your own grid in the student manual.) Additionally, if you
have experience with photo-editing software you may apply a grid to
digital reference and print with the grid applied. Feel free to consult your
instructor for guidance in applying a grid to your reference.
STEP 2
Once your reference grid is established, you will need to replicate the
grid on your drawing surface. This destination grid must be laid out
extremely accurately to ensure its successful use. The most common
method of drawing a guide grid begins with a precise perimeter drawn
with a material appropriate to the execution of the drawing. A ruler or
square can be used to verify the accuracy of the initial perimeter. The
ruler is then placed along one of the boundaries of the perimeter and
1 inch marks are carefully indicated. This is repeated along the entire
perimeter. A ruler is then used to add extremely light lines connecting
each point and its corresponding counter point. Continue this until an
extremely accurate grid of 1 x 1 inch squares is established.
You may also establish a coordinate system so that you do not become
lost or confused when working with the grid. It is most common to
assign letters to the lines that begin along one perimeter of the grid
and numbers to the lines that run perpendicular. This will help you to
efficiently find or reference a specific location.
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Be sure to keep your grid extremely light. Pay close attention to the pressure meter.
As with any initial line work, it should be able to be lifted off quite easily as to not
contaminate later applications of value. Also, make every effort to not excessively
slide your ruler around the drawing surface. This may smear the grid or cause
potential damage
to surface.
STEP 3
With your reference and destination grid applied, you can approach the drawing as a series of small shape replication exercises.
Carefully observe the shapes that populate each square of your reference grid and reproduce those shapes in the corresponding
destination squares with as much accuracy as possible.
STEP 4
Once your line drawing is complete, gather some clean, blank paper that can be
used to mask off all but one square of the drawing. Usually starting in the top
left, we do this to isolate a small abstract section so that it can be approached
with as little conceptual contamination as possible. Conceptual contamination
is a common problem that plagues many artists in their early study. They tend to
struggle to capture accurate shapes and values because instead of replicating exactly
what they see, they try to incorporate far more of what they think they know about
their given subject. Effective, objective observation is hindered as this conceptual
information gets in the way. We combat this by the use of masking in early projects.
Masking helps many students understand that even the most complex of subjects
can be broken down into simplified, or abstracted, patterns of value and shape.
Being able to simplify what we observe into more digestible and useful information
is an extremely powerful ability to add to our salvo of developing skill-sets.
It is very important that you do not place any tape or any other adhesive anywhere
on your drawing surface. Your masking paper can be adhered outside your imagery
quite easily.
With our reference source and drawing surface placed in close proximity for easy
comparison, our application of value is underway. We will not move from this block
until we have accurately captured the value patterns within the reference square.
Make an effort not to leave an abrupt edge

when approaching the boundary of a square.
Anticipate that the value of an adjacent square
will pick up where the last left one off. Slight
tapers before or after the grid line will allow for
an easier merging of the values between one square and another.
As each square is completed, remove another piece of the masking paper. As more
of your imagery is revealed, increasingly visible value relationships allow for more
effective decisions as your drawing unfolds.
STEP 5
When you reach the final section of your drawing and your image is effectively established, you may go back to tweak or enhance
any shapes, values or patterns to garner a more accurate representation of your reference source.
Artists may also use a grid with the

three-dimensional reference.
After an arrangement is designed and staged, a special device known as a grid-stand,

a upright frame for housing a plexiglass grid, may be employed to serve the same
function as the grid for the two dimensional reference. If you do not have access to a
grid stand you may look to your student manual for the plans on how to construct one
for yourself.
The grids held in these upright frames are laid out in the exact same manner as those
used for two dimensional reference. They contain the same system of coordinates so
that you can determine your location within the grid quickly and effectively.
As with other three dimensional model references, you are encouraged to align your
subject and drawing surface in close proximity. Points can be indicated on the plexiglass
grid to ensure that your perspective does not change during your drawing process. If
your perspective through the grid is constantly moving, the grid will yield extremely
inaccurate results. Make sure any reference points you establish fall on their intended
targets before making determinations or taking measurements from your grid.
It is sometimes difficult to use masking paper with the three dimensional grid as they
may interfere with the illumination of your subject. However, if it does not interfere
with your subject’s light source, you can adhere non-reflective masking sheets, like
black matte paper, to the plexiglass to assist in the concentration of your focus and the
reduction of conceptual contamination.
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Now you might be thinking to yourself: “The boundary box, space box, envelope and grid all sound fine – but once I
have them established, how (or what) should I measure?”
That is an excellent question. Starting with the most robust device, the grid, all you need to measure are the distance
along the grid lines from intersection of cell (row and column) to subject boundary intersection. This way you can
populate the lines of the grid with dots to be connected by line. This should be very familiar to you as you should already
have completed the Origin Destination line exercises and diagnostic wheel. Each cell of the grid is like the boundary
box of a small Shape Replication exercise. Just measure along the box to find a particular boundary line intersects the
boundary box and indicate it on your target grid.
Distances can be measured from cell intersection to boundary incidence. Dots accurately placed at boundary
intersections will establish a quick and accurate dotted contour path to follow.
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FORM
Everything we see around us is defined by light. As light interacts with an object it revels a collection of values that allow us to
perceive its three-dimensional quality known as form. Our ability to understand the basics of how light reveals the world around us
will allow us to capture believable representations of anything we choose.
Light (Value) can turn flat (2D) shapes into 3-D FORMS
When we begin to bring together the elements of line, shape, value, and color, we begin to unlock strong representations of the
observable world. We will use lines to establish the shapes of value/color patterns that will give rise to form. It is like fitting puzzle
pieces together. Two particular value/color shapes will lock together and give rise to something new.
125
SHAPES
CIRCLE RECTANGLE TRIANGLE
HEXAGON TRAPEZOID DECAGON
126
FORMS
SPHERE CYLINDER CONE
CUBE PYRAMID POLYHEDRON
127
FORM
The simplest manner to begin to capture form is the interlocking of just two shapes of contrasting values. A good example
of this is the “Notan.” Introduced to American art by Arthur Wesley Dow (1857 – 1922), among whose students was
Georgia O’Keeffe, “notan” is said to be Japanese word for the interaction between dark and light. In 1899 Dow published
a book, Composition: A Series of Exercises in Art Structure for the Use of Students and Teacher, that presented design as
founded on three principle: line, color, and notan (notan meaning the massing of dark and light areas in a composition.
Dow, Composition pl. X, “Notan”

128
FORM
For example, here are a number of flat two-dimensional

shapes. They do not necessarily give a strong illusion
of form, but if the shapes are oriented in a particular
way, they can begin to successfully represent three-
dimensional volume.
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FORM
Look what begins to happen to one of the Bargue Plate linear constructs we were discussing earlier when we begin to add a
constructing value to specific areas. Do you see how it begins to become more three-dimensional?
Here is a few examples of notans in which the separation of values occurs at the point where light and dark would tend
to separate. You can do any subject you like in any manner you like – just keep your design separation in sync with the
light dark separation that promote a three-dimensional image:
If you like you can replace one of the values with a collage texture or pattern. It will create a similar effect!
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FORM
Tackling the Portrait with the Notan.
Early portrait work can often be riddled with a myriad of problems. All too often I see artists turn to increasingly complex
methodologies and strategies to tackle this endeavor and more often than not – the results are problematic. However, if you
understand how we are wired to perceive a face – you can simplify your approach rather than adding more parts to what may
already be an ever-growing Rube Goldberg machine.
While there are quite a few seasoned artists that can deal with incredibly complex variables when dealing with heads, hands, and
facial features – the “newbie” can easily drown in cannons of proportion, rigid measurements, and conceptual contaminants.
This short presentation is the simple way that I have introduced “the portrait” to students over the years. Just like the Language of
Drawing exercises, we will abandon overly-complex theories at the onset in favor of a simple set of ideas.
Rather than starting with a complex construction process of planes and features, such as a human-machine or malleable
mannequin – let’s first look at how we are wired to “see” faces”
“If your temporal lobe is in good working order, your brain recognizes faces by analyzing the individual parts and then constructing
a kind of natural barcode. According to a 2009 study in the Journal of Vision, your brain sees a face as a series of shapes. First your
brain reads the eyebrows, eyes and lips as horizontal lines. Next, your brain takes a look at what is left over and sees areas of light
and dark. The forehead, for example, may be a rather large area of light. But the hollows of your eyes or cheekbones may be interpreted
as dark shadows. Your brain scans this informaion just like a barcode, and you identify a person either as someone you know or as a
stranger”.
Chris Jordan
131
FORM
You can learn more about the science of how we “see” faces by looking to resources like The Journal of Vision’s “Biological Bar
Codes in Human Faces” by Steven C. Dakin and Roger J. Watt.
(http://www.journalofvision.org/content/9/4/2)
So let’s tackle the portrait in the same manner that we are wired to understand it.
Looking at our model we can establish a general visual survey of est. height and width. We can populate a general center line with
any horizontal measurement markers we would like (most common are est. eye, eyebrow, nose, or mouth lines.) This of course is a
rough estimation survey and will serve as a general anchor for the patterns that follow.
132
FORM
Using your initial survey marks as a basic reference tree, begin to squint at your model to further isolate the patterns of light and
dark that you are wired to observe. Record the interlocking pieces of light and dark to the best of your ability. You can establish
these patterns with line or a single value to start (or both):
Remember you can begin with very simple shapes or envelopes and refine later.
Shown: Shape Pattern refinement from simple envelope to more accurate contour.
As a start – this is far enough. Just repeat this until you can capture patterns consistently and accurately. Do not draw any features
whatsoever! Do not use more than a two value separation scheme or simple line pattern at this point. For now, just focus on the
macro patterns of light and dark until you can achieve accuracy consistently. You will start garnering good likenesses before you
know it.
133
FORM
And for those of you working on the toned paper (it is all the same):
134
FORM
Practicing the Notan!
The following pages contain a series of images that you can copy to practice your ability to break down a particular
image into a notan of light and shadow.
here is how to do it:
STEP 1
Print Image A on a Transparency sheet. You can do this at a retail printer like Staples or Office Max, if your home printer cannot.
Print the following images on regular paper – no need for high-quality photo prints. (Also – you do not have to print both D and
E – only the one that will match your drawing surface (white or toned). Make sure you print all the images at “fit to size” setting, on
8.5 x 11” size paper if using Photoshop.
STEP 2
Observe B. Study the patterns throughout. Now compare B with C. See if you were able to visualize the patterns seen in C. Now
try and draw the pattern without (or with minimal) measuring device use. With a pattern cartoon established, proceed to fill all
shadow patterns with one even value so that the result mimics D or E. Check with Overlay.
STEP 3
Observe B carefully again. Study the pattern throughout. This time generate the drawing from image B (again, mimicking D or E
depending upon your paper). Again, check with Overlay.
So again – draw the portrait pattern study twice. Once from C (model with pattern guideline) and once from B (no
pattern guideline). Populate both with cartoon and one single value.
Check results with the Overlay (sheet A).
135
FORM
136
FORM
137
FORM
138
FORM
139
FORM
140
FORM
141
FORM
142
FORM
143
FORM
144
FORM
145
FORM
146
FORM
147
FORM BUILD EXERCISES
The following pages contain a series of exercises that focus on the exploration of several basic geometric solids—a sphere, a cylinder,
a cone and a cube. Such basic solids, or form “primitives” are often studied by visual artists so that they may better understand how
light communicates some of the most common configurations of volume.
Each form is presented in a relatively canonical fashion and that fashion will serve as an “ideal” in this context of exploration and
practice. This particular series of exercises is not designed to yield some “perfect” representation of any specific form, but is rather
designed to use a canonical ideal to significantly grow one’s familiarity with the unique nature and dynamics of the disparities (lights
and darks) that elicit the perception of specific form “types.”
You will be quick to notice that the majority of the exploration of these forms will involve a good deal of repetition. However, it is
important to understand that the type of repetition employed here is not a mindless repeating of an unchanging task—but is rather
the type of repetition that was presented with our introduction to deliberate practice at the beginning of this text. This type of
repetition involves a great degree of focus on improvement in both work efficacy and efficiency. You should try to make each effort
of a repetition schedule better than the last.
It is also worth noting that some make the crucial mistake of trying to build up speed here. Unfortunately, there are no shortcuts.
Stable speed/efficiency will come from the automatization of the lower-level aspects of an activity (via deliberate practice.) Don’t
focus on your speed. Focus on the quality of your efforts.
Another aspect of the form build repetitions that some may be quick to notice is the lack of a form build model sheet. Our Form
Build Repetition exercises contain no model sheet so that, in addition to strict visual replication (via an observable visual target),
the student may develop the ability to manifest a visual representation from alternate modalities. What this means is that we aim to
promote the successful visual communication of ideas that may not originate from a readily observable reference source. Students
that are new to these form phases will quite often demonstrate an “evolution of builds” that effectively reflects their exploration of
build variables and perceptual consequences. The absence of the model sheet shift attention away from strict replication and moves
towards more productive exploration. With that said, there are instances where an actual model is required for effective exploration.
As such, the following three pages contain instructions to fashion a few of the geometric solids out of paper.
148
cylinder Cut out along the outline and fold along
the dotted line. Tape as necessary.
TAPE
149
cube Cut out along the outline and fold along
the dotted line. Tape as necessary.
TAPE
150
cone Cut out along the outline and fold along the dotted line. Tape as necessary.
TAPE
151
THE SPHERE – PHASE I
Goal: To further explore, through analysis and repetition, the manner in which light describes
spherical forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape,
Sphere
directions:
Place a sphere on a surface, and illuminate it from the top left with a primary light source.
Slowly and carefully move the light from its position and see how the sphere reacts. Notice
how the play of values describes this form to us.
Return your primary light source to the top, left, front so that your sphere is illuminated as
shown. This primary light source orientation is a standard position we will set by which we
will explore the nature of the basic forms. Maintaining a series of standard variables will
allow us to focus more on the unique nature of each form.
In an effort to understand how the values we observe on this form are created, we will start
with the element that is creating these values in the first place-the light. If we separated, or
bisected, the sphere along the direction of the light, we would get two identical halves. Let’s
refer to this light direction separation as axis line A. Placing an opposing, perpendicular
axis, B, to A would create an “X” grid to help chart out how some of these values take shape,
and ultimately reveal this form to us.
To ensure that our “X” grid is accurate, lines A and B should be oriented at a 90 degree angle.
If we added two additional lines parallel to B, equidistant from both B and the point at which
A pierces the outer circle, we can divide the sphere into 4 sections perpendicular to the
direction of light. This grid reveals a light to dark ratio of 3:1 that we will maintain as another
standard to study the basic forms.
We see that the shadow shape does not follow the straight boundary
line of our quadrants completely. Rather, it follows the surface of the form itself. If we create
a line from the 2 points where line B pierces the outer circle and where the shadow quadrant
meets line A, we can see the curved light and shadow separation.
Incidentally, the point at which the first light quadrant boundary intersects with line A
appears to be the brightest point on the sphere in this particular lighting scenario.
While all of this may sound a little complicated, this analysis allows us to build a model of
set variables by which to further understand the manner in which light defines the form, we
can use these variables in a sphere schematic for repetition-based exercises that will develop
the skill-sets to replicate these three dimensional forms at will.
STEP 1
For now, we will simplify the sphere’s value structure to focus on the main light dark
separation similar to the Gradation Block exercise. Let’s draw a version of the sphere with
just this main light and dark separation, based on what we observed and general parameters
explored with the X grid. Begin with an initial angular depiction of a circle around 2 to 3
inches in diameter.
THE SPHERE
STEP 2
Proceed to very faintly indicate the primary light source direction, A and the opposing axis B, to
plot out the location of the values that will describe the sphere. You do not need to plot out all of
the quadrant lines if you can simply visualize them. However, add them if you feel it is necessary.
Remember to keep them extremely light so that they can be removed very easily.
As with the other Gradation exercises indicate the main light dark separation. Remember that it is
not a straight line, rather it follows the form of the Sphere, curving from the locations at which line B pierced the circle, down to the
shadow quadrant boundary line.
With this layout, or schematic, of our simplified sphere, we will add value as we have in the other value gradation based exercises.
As to our value range and rate of change, we will set the exercise parameters for a full value range, bright white to rich black, and
a somewhat short main transition around the indicated central light/dark separation line. Rather than estimate, you can use the
sphere we just examined as reference.
Consider removing any remnants of the X grid as it may have adverse effects on your value application and gradation.
STEP 3
Proceed just as you would with the initial Gradation Block exercise. This is simply a repeat of
that same exercise, slightly altered to accommodate a circular template.
Again, as our main transition will be somewhat short, it may only require a short initial taper of
dark.
Begin to add your white in the area that we had identified as the brightest when viewing the
sphere in this orientation. This will serve as a main light anchor similar to other value anchors
you may have set in earlier exercises.
As always, vary your stroke direction to ensure an even transition.
We are not overly concerned about maintaining a very pristine edge or outline at this point.
In fact, we prefer to keep all our edges soft in the beginning while still maintaining a general
accuracy to the overall shape. In an effort to maintain the freedom to add surrounding values
or alter shape, we slightly ‘taper’ most edges. Always keep in mind that it is usually easier to
sharpen an edge later than it is to soften one.
This simplified version of a sphere, based on a given set of parameters, will make up the first
phase of our Sphere Build repetition exercises. Your goal here will be to accurately replicate this
configuration of shapes and values consistently.
ASSIGNMENT
Continue to perform this segment of the Sphere Build exercise until at least 2 full sheets of paper are
filled (front and back). Keep each sphere consistent in size. Confident and consistent execution is key
to develop strong, valuable skill sets. Remember that each sheet of paper should be at least 20x20”.
Be sure to use both sides of your paper. Maximize your space to get as much practice as possible. If
applicable, your instructor can guide you on how to make the most of your paper’s work area.
153
SPHERE OUTLINES
Taken from Sadie Valeri Atelier curriculum. Sphere Outlines
Sphere Outlines
Instructions
Instructions
Once you have perfected your circle construction, draw 6 sphere outlines on a fresh sheet of paper.
instructions:
Once
Draw you have perfected
everything freehand,your circle
don’t useconstruction, draw 6 sphere outlines on a fresh sheet of paper.
a ruler or a compass.
Once you have perfected your circle construction, draw 6 sphere outlines on a fresh sheet of paper. Draw everything
Draw everything
Continue to use freehand, don’t use a ruleryou
or apracticed
compass. in the Constructing Circles exercise.
freehand, don’t usethe sameordrawing
a ruler method
a compass.
Continuetotouse
Continue usethe
the same
same drawing
drawing method
method youyou practiced
practiced in the
in the Constructing
Constructing Circles
Circles exercise.
exercise.
1. 2. 3.
PARALLEL
1. 2. 3.
Light Direction Look for the H to make sure your terminator
PARALLEL
Light Direction is perpendicular
Look for the H totomake
the light
sure source
your terminator
Shadow
Shadow
is perpendicular to the light source
PARALLEL
PARALLEL
Shadow
Shadow
PARALLEL
PARALLEL
CastCast
CastCast
of the
of the
of the
of the
Limits
Limits
Limits
Limits
PERPENDICULAR
PERPENDICULAR
Terminator
Terminator
Horizontal *
Horizontal *
Cast Shadow PERPENDICULAR
Cast Shadow PERPENDICULAR
* NOTE on 3D PERSPECTIVE
NOTE on 3D PERSPECTIVE * NOTE
For on 3D PERSPECTIVE
the purpose of this exercise draw the cast shadow ellipse on a horizontal plane, and don’t try to tilt it up/down according to
Forthe
thethe
For purpose
purposeofof
forward/back this
thisexercise
angle of thedraw
exercise drawthe
light. cast
Ifthe
you shadow
cast shadow
image ellipse
your ellipse on
eye level onaisahorizontal
close plane,
horizontal
very toplane,and
anddon’t
the surface thetry
don’t trytototilt
sphere tiltisititsitting
up/down
up/down according
wouldto
according
on, there to the
forward/back angle
the forward/back
not of
be a perceptable the
angle light. If you
of the light.
difference image
in theIf angleyour
you image eye level
of theyour
casteye is very
level isand
shadow, close to the surface
verycalculating
close to thethe the
surfacesphere
exact the is
sphere
degree sitting on, there
is sitting on,tiltthere
of perspective wouldwould be a
not
is beyond
perceptable difference in the angle of the cast shadow, and calculating the exact degree of perspective tilt is beyond the scope of this
not scope
the be a perceptable difference in the angle of the cast shadow, and calculating the exact degree of perspective tilt is beyond
of this lesson.
lesson.
the scope of this lesson.
4. 5. 6.
4. 5. 6. For the final 3 outlines, choose your own
direction of the
For the final light. choose your own
3 outlines,
direction of the
Angle of the light.
light source should be between
10:00
Angleand 2:00.
of the light source should be between
10:00 and 2:00.
Imagine the arrow moving forward and back, as
well as side-to-side.
Imagine the arrow moving forward and back, as
well as side-to-side.
CHECKLIST: Make sure you can answer YES to all these questions before submitting:
CHECKLIST: Make sure you can answer YES to all these questions before submitting:
CHECKLIST: Make of
Are the Limits sure
theyou
Castcan answer
Shadow YES totoallone
parallel these questions before submitting:
another?
For the purpose of this
Are the Poles
Limitsofexercise
ofthe draw the
theTerminator
Cast Shadowcast shadow
perpendicular ellipse
parallel to one on
to the a horizontal
light
another? source, plane, andthe
forming don’t try H
letter towith
tilt itthe
up/down
Limits?according to the
forward/back angle of the light. If you image your eye level is very close to the surface the sphere is sitting on, there would not be a
Is
Arethe arrow
the Polesforofyour Light Direction
the Terminator parallel toto
perpendicular the Limits,
the light and centered
source, between
forming theHLimits?
the letter with the Limits?
perceptible difference in the angle of the cast shadow, and calculating the exact degree of perspective tilt is beyond the scope of this
lesson. Is your cast shadow
the arrow for yourhorizontal, with parallel
Light Direction each end totouching
the Limits,but notcentered
and overlapping the Limits?
between the Limits?
Is your cast shadow horizontal, with each end touching but not overlapping the Limits?
WWW.SADIEVALERI.COM
154
WWW.SADIEVALERI.COM
THE SPHERE – PHASE II
Goal: Introduction to Chiaroscuro. To further explore, through analysis and repetition, the manner in
which light describes spherical forms.
Sphere
Now that we have established a simplified sphere schematic
for exercise purposes, we return to our sphere model to take
a deeper look at the values that reveal its form to us.
It is here that we would like to introduce a new term,
Chiaroscuro. An Italian word meaning light and dark,
Chiaroscuro is a term used to describe a system of using
contrasting lights and darks to achieve a sense of volume in
modeling three-dimensional objects.
We will identify and define seven common values that

describe form. These will become our seven basic values
of Chiaroscuro. Becoming familiar with these values will
not only offer useful insight into how we perceive form, but
will also create an invaluable lexicon for referencing specific
areas of your subject or drawing.
We begin with the lightest value describing the forms we observe: the Highlight. This light value is the area of strongest
illumination on an object, reflecting the most light. In the orientation of our sphere model, the highlight is generated by our
primary light source and occurs along the light A axis as indicated in the previous exercise. Depending on the reflective qualities
of an object, highlights may appear to behave differently. Diffused highlights are reflected in a broad range of directions whereas
specular highlights are more narrowly focused. We will investigate these particulars of the highlight a little later on.
The second value we will identify will be our Middle-Tone. This can be described as the generalized illuminated area of an
object. The Middle-Tone will contain the highlight, and value variations described as Half-Tones.
Our third value is Reflected Light. These values can be located just about anywhere on an object and are created by light
emanating from a Secondary Light Source. In our sphere model, we see the presence of Reflected light strongest in the shadow
area. Light from the primary light source bounces off the sphere’s resting surface and reflects back onto the sphere; this resting
surface serves as a secondary light source.
Next, as we have identified a general light area, we must also identify a general shadow area. We will refer to this area as the
Attached Shadow. The Attached Shadow is the general area of the object that is least effected by the primary light source.
Our fifth value actually found beyond the boundaries of our form. Identified as a Cast Shadow. This area of value is cast upon a
surface by an object intercepting light from the primary or secondary light source.
The sixth value to be identified is referred to as the Attached Shadow Accent. This is usually the darkest area of the attached
shadow and is the area least affected by both primary and secondary light sources.
And last, the Cast Shadow Accent is the darkest region of the Cast Shadow. It can almost always be found nearest the area
where the object casting the shadow and the receiving surface meet.
155
THE SPHERE
If we revisit the first phase of our Sphere Build repetition exercise, designed from our X grid schematic we see that many of our
common values of Chiaroscuro are present. Our initial sphere exercise contains a diffused highlight and Middle-Tone. Our
Attached Shadow is present. However, we will need to augment our sphere build example to give rise to the remaining values, and
also, make others much more noticeable.
Just as we have added subtle light values into previous shadow areas, our addition of a subtle reflected light here brings more of our
object to life through the use of Chiaroscuro. To get an idea of how light or how dark to make your representation of the reflected
light you may reference your actual sphere model. Continuing to investigate our sphere build for more values of Chiaroscuro, we
can now easily identity our reflected light. Our attached shadow is present and accounted for.
However, as our sphere build does not include a resting surface or other object able to receive a Cast Shadow, one cannot be
included at this time. Our Attached Shadow accent, while technically presents prior to the addition of the Reflected Light, is now
much more easily located and identified.
As our Cast Shadow cannot be represented at this time, nor can our Cast Shadow accent, both of these values will be incorporated a
little later on.
This newly augmented version of the sphere will make up the second phase of the Sphere Build repetition exercises. Your goal here
will be to accurately replicate the Sphere model, with these additional values of Chiaroscuro, consistently.
ASSIGNMENT
Continue to perform this segment of the Sphere Build exercise until at least 2 full sheets of paper are filled
(front and back). Keep each sphere consistent in size. Confident and consistent execution is key to develop
strong, valuable skill sets. Remember that each sheet of paper should be at least 20x20”.
Be sure to use both sides of your paper. Maximize your space to get as much practice as possible. If applicable,
156
THE SPHERE – PHASE III
Goal: To explore the nature of the sphere in a basic environment.
Sphere(s)
We have thus far, through the use of observation, investigation, and repetition, explored a good
deal regarding the nature of the sphere and how we perceive it. We will now replicate this
geometric solid, with all values of Chiaroscuro, in its environment.
directions:
Just as with the Form Box exercise, align your subject with your drawing surface and easel.
Once you are aligned, you can use general estimations, alignment tools or comparative
methods to determine many of your initial measurements.
We now have the opportunity to add in the final remaining values of Chiaroscuro to our
drawing. Just as the environment surrounding the sphere contains a Cast Shadow and Cast
Shadow accent, so will our finished drawing.
We should take a minute to point out that the shape of the Cast Shadow is very important
to describing the form itself. The Cast Shadow from a sphere in this orientation will take on
the shape of an ellipse. An ellipse is a geometric figure resembling an elongated circle. It is
essentially a closed curve in the form of a symmetrical oval. Here we can see how the sphere
intercepts light from the primary light source at it travels toward the surface of the table; it
generates an elongated, elliptical shadow. We will explore the nature of the ellipse in greater
detail in later form study.
ASSIGNMENT
To complete this phase of the Sphere Build chapter, draw one Sphere from life with surrounding environment
as illustrated. Before beginning the drawing, carefully study how each shape and value work together to
communicate the form of the sphere.
Keep your drawing as true to the actual size and value structure of your available sphere model. Make every
effort to replicate the observable shapes and values as accurately as you can.
157
DRAWING THE VALUE SPHERE IN GRAPHITE
Taken from Sadie Valeri Atelier curriculum.
Materials available: 2H, H Pencils
Drawing the Value Sphere
DIRECTION OF LIGHT block-in contour:
Block-In Contour: 2h pencil
2H Pencil
1. Lightly sketch a square, and slice off the corners to make an octogon.
1. Draw
2. Lightly sketchfrom
an arrow a square, andleft,
the upper slice off the corners
indicating to make
the Direction anLight.
of the octogon.
LIM
OR IT
MIN
AT OF
TH
EC
3.
2. Draw
DrawtheanTerminator
arrow fromperpendicular to the
the upper left, Light Source.
indicating the Direction of the Light.
ER AS
4. Draw Limits of the Cast Shadow and sketch an ellipse for the Cast Shadow.
T TS
HA
3. Draw the Terminator perpendicular to the Light Source.
LIM
IT DO
OF W
TH
EC
AS CAST SHADOW
TS
HA
DO
W
4. Draw Limits of the Cast Shadow and sketch an ellipse for the Cast Shadow.
DIREC TION OF LIGHT

refine contour:
Refine Contour: 2h pencil
2H Pencil
TERMINATOR POLE 1. Continue to slice off corners of the square and erase extra marks.
1. Continue to slice off corners of the square and erase extra marks.
R 2. Mark the 2 poles of the Terminator, and create an ellipse between the poles.
TO 2. Use
Mark
IN
A 3. thethe 2 poles
pen-style of the
eraser to Terminator,
clean up extraand create
marks and an
makeellipse
lines between
very fine. the poles.
RM
TE 3. Use the pen-style eraser to clean up extra marks and make lines very fine.
TERMINATOR POLE
fill
Fill in in shadows:
Shadows: h pencil
H Pencil
1. Fill in the Form Shadow and Cast Shadow.
1. Using
2. Fill inathe
lightForm Shadow
touch, andvery
shade with Castshort
Shadow.
strokes in all directions.
3.
2. Use
Usingyoura kneaded eraser,
light touch, twisted
shade into
with a point,
very shorttostrokes
“tap out”inany texture.
all directions.
FORM SHADOW
4. Don’t press: Build up the value slowly without damaging the paper.
3. Use your kneaded eraser, twisted into a point, to “tap out” any texture.
C AST SHADOW
4. Don’t press: Build up the value slowly without damaging the paper.
turn the
Turn the form:
Form: 2h pencil
2H Pencil
1. Starting at Terminator, shade a “mist” of light marks up towards highlight.
1. Starting at Terminator, shade a "mist" of light marks up towards highlight.
2. Darken values at Terminator until it softens and disappears.
2. Don’t
3. Darken
rubvalues at Terminator
the graphite until it softens
with any blending tools or and
yourdisappears.
finger.
3. Don’t rub the graphite with any blending tools or your finger.
refine shading:
Refine Shading: 2hHand
2H and h pencils
Pencils
1. Darken the area just behind the Terminator.
BACKGROUND 1. Darken the area just behind the Terminator.
2. Leave the underside of the ball a tiny bit lighter for reflected light.
2. Allow
3. Leavethethe underside
sphere of with
to merge the ball a tinyShadow
the Cast bit lighter
wherefor reflected
they touch. light.
4.
3. Fill in medium
Allow values
the sphere tofor the Background
merge with the Castand Shadow
Surface. where they touch.
4. Fill in medium values for the Background and Surface.

SURFACE
final shading:
Final Shading: 2hHand
2H and h pencils
Pencils
1. Continue to adjust values across entire drawing, layering H and 2H pencils as necessary
1. Continue
with to adjust
a soft touch values
and short across
strokes entire of
in a variety drawing, layering H and 2H pencils
directions.
assome
2. In necessary with
places the a soft touch
background willand short
be the strokes
same inthe
value as a variety
sphere.of directions.
Allow these edges to
disappear, they are called “Lost Edges. ”
2. In some places the background will be the same value as the sphere. Allow
these edges to disappear, they are called “Lost Edges.”
158
THE
TheVALUE SPHERE:Turning
TURNING FORM
Fill in Shadows: HB and H Pencils
Value Sphere: Form 1. Fill in the Form Shadow and Cast Shadow to 80%
2. Using a light touch, shade with very short strokes
Taken from Sadie Valeri Atelier curriculum. in all directions.
Materials available: 2H, H Pencils
3. Use your kneaded eraser, twisted into a point, to
Fill“lift
in Shadows: HB and(focus
out” any texture H Pencils
on dark dots).
fill in
4. shadows:
1. Don’t
Fill press:
in the FormhbShadow
Buildand hand
up the pencils
value slowly
Cast without
Shadow to 80%
1. Fill in the Form Shadow and Cast Shadow to 80%
2. Using 2.a damaging
Using
light touch,
thetouch,
a light paper.
shade withshade withstrokes
very short very short strokes
in all directions.
3. Use yourinkneaded
all directions.
eraser, twisted into a point, to “lift out” any texture
(focus on dark dots).
3. Use your kneaded eraser, twisted into a point, to
4. Don’tTurn
press:the Form:
Build 2Hvalue
up the Pencilslowly without damaging the paper.
“lift out” any texture (focus on dark dots).
1. Starting at Terminator, shade a "mist" of light
4. marks
Don’t press: Build up
up towards the value slowly without
highlight.
damaging the paper.
2. Darken values at Terminator until it softens and
turn the form: 2h pencil
disappears.
1. Starting at Terminator, shade a “mist” of light marks up towards
Turn
3.
highlight. the rub
Don’t Form:
the2H Pencil with any blending tools or
graphite
1. your
2. Darken valuesfinger.
Startingat at
Terminator untilshade
Terminator, it softens and disappears.
a "mist" of light
3. Don’t rub the graphite with any blending tools or your finger.
marks up towards highlight.
2. Darken values at Terminator until it softens and
refine shading:
Refine Shading:2h
disappears.
2H and
and HhPencils
pencils
1. Darken the areathe
1. Darken justarea
behind
justthebehind
Terminator.
the Terminator.
3. the
2. Leave Don’t rub the
bottom rightgraphite
edge of thewith
ballany blending
a tiny tools
bit lighter or
for reflected
2. Leave the
light. your finger. bottom right edge of the ball a tiny bit
lighter
3. Allow the for of
bottom reflected
the spherelight.
to merge with the Cast Shadow where
they touch.
3. Allow the bottom of the sphere to merge with the
Refine
CastShading: 2H andthey
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159
THE SPHERE
directions:
We will conclude the study of each individual Form with a project referred to as a Final Form Cumulative Drawing. This exercise
will not require you to draw from an idealized Sphere model, but rather will require you to replicate several various spherical
objects.
Proceed to select and arrange 2 to 3 spherical objects into one composition. Make every effort to have your subjects interact with
one another and their environment. Make every effort to challenge yourself by using subjects with texture or surface variations.
This project should be executed from actual models just as the previous Sphere and Form Box exercises.
An important aspect to explore before proceeding with your drawing is how the value range of your subject’s form influences
its surface features. When your subjects have been selected and your arrangement completed, take a moment to carefully study
any textures or surface variations. Remember that the values that communicate the surface features, like texture, will be greatly
influenced by their location on the object. For example, looking at this image of a sphere bearing a pattern on its surface, the
design element located in the Middle-Tone is far lighter than the design element found in the Attached Shadow. Deviating from
the value influences of the form on surface textures may cause your subject to lose dimension and appear flatter.
ASSIGNMENT
To complete this chapter of the training series, arrange and execute a drawing containing 2 to 3 spherical
subjects in a basic environment. Make an effort to utilize subjects that have texture or surface variations. Be
sure to develop some interaction between the subjects and their environment when arranging the composition.
Keep your drawing as true to the actual size and value structure of your available sphere model. Make every
effort to replicate the observable shapes and values as accurately as you can.
Here are several drawing of various spherical objects.

NOTE: See Creative Project Supplement at the end of the Book before proceeding. 160
THE SPHERE EXERCISES EXAMPLES
161
162
1 1
2 2
3 3
4 4
163
THE CYLINDER
THE CYLINDER – PHASE I – A
cylindrical forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cylinder,
Ruler.
Shown here are two cylinders placed within a Shadow Box. They are illuminated from the top
left, front, by a primary light source just as the Sphere and Form Box in the previous exercises.
Carefully move the light around and see how the Cylinders react. Notice how the play of
values describes this form to us.
Return your primary light source to the top, left, front so that your cylinder or cylinders are
illuminated as shown. Again, we are attempting to maintain a series of standard variables that
will allow us to focus more on the unique nature of each form.
In studying the Cylinder initially you may notice that it is a slightly more complex form than
the sphere in certain regards. While it is quite similar in its’ curvilinear nature, the shape of the
cylinder will seem to change as its’ orientation varies, thus introducing elements of perspective.
Perspective, in regards to Visual art, is a process of representing the spatial relation of objects
as they might appear to the eye. For example, whereas the sphere’s shape would remain a
circle regardless of its orientation in space, a cylinder’s shape will appear to change as does its
orientation. Notice how the overall shape of the upright cylinder in the central image differs
from the overall shape of the cylinder on its side.
However, there are many very familiar elements to this form. Note how the form of the
cylinder’s central shaft is described by a value structure that is extremely similar to those
presented in the Gradation Block exercise. Many of the new elements we encounter will echo
concepts and elements previously introduced.
As we built a schematic for a repetitive sphere exercise, we will use a central axis to divide the
cylinder and connect the centers of the circular bases. These bases appear elongated due to our
perspective, and are observed as ellipses. You will remember that we introduced the concept of
the elongated circle, or ‘ellipse’ when investigating the cast shadow of a sphere. What you will
notice here is that the ellipse shape will change based on the orientation of the cylinder.
As we investigate the cylinder shaft’s relation to the ellipses we discover the central axis that divides the cylinder, and connects the
central points of the bases, will occur perpendicular to the longest, or major, axis of the ellipse.
This is similar to the X grid we used for the sphere schematic. Regardless of orientation, the central axis of the cylinder and the
long axis of the ellipse will always meet at a 90 degree angle. No matter how complex the perspective may become, this relationship
of central body and base axis will remain intact.
Notice how the overall shape of the cylinder changes as the orientation is altered. Carefully observe how the values work to
describe the form of this solid. While we are just beginning to investigate this form, many of its attributes may again seem very
familiar.
164
THE CYLINDER
directions:
Let’s begin, as we did with the sphere by simplifying the entire form. In fact, let’s lose the
bases all together and just tackle the more familiar central, curvilinear component. With our
light source in the home or top, left, front position, we can see that light grades in different
directions, with different ranges, and at different rates as determined by the form itself.
To establish a schematic for this form, we will re-incorporate the central axis line to bisect the
cylinder shaft. Adding two parallel lines equidistant from the main axis and the outer edge
will divide the form into four quadrants. With this division we can again verify our 3:1 light to
shadow ratio.
While observing this particular form in this orientation and lighting scenario, we can see
that the brightest value occurs at the first quadrant boundary line and the main light/shadow
separation occurs at the last quadrant boundary line.
To make our exploration of this form even more simple, we will first just focus on the main
horizontal light to dark gradation. Again, this may seem extremely familiar as it is essentially
just another Gradation Block exercise.
STEP 1
Begin by establishing a 4x3” rectangle that will house the gradation.
Just as we have established reference lines to indicate major light and dark separations in
previous gradation exercises we will establish a schematic grid to follow. We will divide our
rectangle into quadrants as with our sphere schematic. Our far left quadrant boundary will act
as our highlight anchor and the far right as our main light and dark separation line.
STEP 2
With a general schematic established, begin to add value as we have in the other value gradation-
based exercises. As to our value range and rate of change, we will set the exercise parameters
for a full value range, bright white to rich black, and a somewhat short main transition at the
indicated central light/dark separation line. Rather than estimate, you can use the upright
cylinder we previously examined as a reference source.
Consider removing any remnants of the schematic grid as it may have adverse effects on your
value application and gradation.
165
THE CYLINDER
STEP 3
that same exercise, only now rotated to emulate the main horizontal gradation of the upright
cylinder shaft as observed in our previously studied cylinder model. Be sure to keep the
rectangle in this orientation as the majority of past gradations may have been executed vertically.
Executing multiple gradations in various directions will add additional versatility to your
developing skill sets.
STEP 4
This horizontal gradation exercise, based on a simplified cylindrical form, will make up the first
phase of our Cylinder Build repetition exercises. You goal here will be to accurately replicate this
configuration of shape and value consistently.
ASSIGNMENT
Continue to perform this segment of the Cylinder Build exercise until at least 2 full sheets of paper are
filled (front and back). Keep each cylindrical gradation consistent in size, range of value, and rate of change.
Confident and consistent execution is key here to develop strong, invaluable skill sets.
Remember that each sheet of paper should be at least 20x20”.
Be sure to use both sides of your paper. Maximize your space to get as much practice as possible. If applicable,
166
THE CYLINDER - PHASE I - B
Goal: To further explore, through continued analysis and repetition, the manner in which light
describes cylindrical forms.
Ruler.
As we observe the manner in which our primary light source defines our cylindrical form,
we must incorporate the additional gradations we observe into our Cylinder Build exercise.
In an effort to replicate the effects of the observed light on the Cylinder model, we must add
additional multi-directional gradations that will not hinder the success of the initial horizontal
gradation.
In the same way the light subtly cascades over the curvilinear form, so must we carefully add
subtle value gradations to our Cylinder Build. Adding these values too harshly, or abruptly, may
cause the bottom of the Cylinder build to appear stained or even bent. These values, however
subtle, have a very strong influence over how the form is ultimately communicated.
Be mindful of your effect on the rate of change and value range on your primary horizontal
gradation. Refer to your actual Cylinder model for additional reference for how light or dark to
push your secondary gradations.
This additional series of secondary value gradations will make up the second phase of our
Cylinder Build repetition exercises. Your goal here will be to carefully incorporate the
secondary gradations to more accurately replicate the manner in which light defines the
curvilinear shaft of the cylinder.
Do not add these secondary values to your previously executed Cylinder Build stage exercises.
Start fresh with new ones as the continued repetition and additional experience will enhance
your developing skill-sets.
ASSIGNMENT
Continue to perform this segment of the Cylinder Build exercise until at least 2 full sheets of paper are filled
(front and back). Carefully incorporate the secondary gradations while maintaining the integrity of the
primary horizontal gradation.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you on how
to make the most of your paper’s work area.
167
THE CYLINDER EXERCISES EXAMPLES
168
THE CYLINDER - PHASE I - C
cylindrical forms.
Ruler
Now that we have established a strong series of gradations that begin to successfully
communicate the body of the Cylinder, we must revisit the model to take a deeper look at the
values that reveal its form.
We will re-administer the effects of the reflected light in our example shown here to make the
common values of Chiaroscuro we explored, far more evident.
Thus far, our Cylinder build contains a general Highlight, Middle-Tone, and Attached Shadow.
Our Cast Shadow and Cast Shadow Accent are not currently applicable; however we can still
add the Reflected Light. The addition of the Reflected Light will allow the Attached Shadow
Accent to become more apparent.
Refer to your cylinder model to reference the intensity of the reflected light, its rate of change,
and other variables that you otherwise may need to estimate.
With 5 of the 7 common values of Chiaroscuro successfully communicating the main body of
our cylinder build, we arrive at the goal for the third phase of our Cylinder Build exercise.
Do not add these additional common values of Chiaroscuro to your previously executed
Cylinder Build stage exercises. Start fresh with new ones as the continued repetition and
additional experience will enhance your developing skill-sets.
ASSIGNMENT
Continue to perform this segment of the Cylinder Build exercise until at least 2 full sheets of paper are filled
(front and back). Keep each Cylinder consistent in size. Confident and consistent execution is key to develop
strong, valuable skill sets. Remember that each sheet of paper should be at least 20x20”.
Be sure to use both sides of your paper. Maximize your space to get as much practice as possible. Your
169
THE CYLINDER - PHASE II
Goal: To accurately draw ellipses.
Ruler, Ellipse Chart.
Returning to our Cylinder model, we must now incorporate the aspects of the cylinder we
removed to initially simplify our study: the circular bases, or as seen in this perspective, ellipses.
Drawing circles in perspective can prove challenging. However, we will present a simplified
approach to not only creating a successful ellipse, but a manner in which to successfully marry
it to the main cylinder body.
We once again employ a simple ‘x’ grid to analyze and understand the construction of a basic ellipse. In this orientation of an
ellipse as shown we can identify a short and long axis. The two points of the shape that are at the furthest distance create a major
axis while the two closest points create a minor axis. Just as with the sphere, these lines form a 90 degree angle and bisect the ellipse
symmetrically.
As mentioned, not only will we use these two axis lines to create a successful ellipse, but the minor axis (illustrated earlier as line A)
will join with the central axis of the cylinder body to marry the components of the cylinder together. As seen here, the cylinder’s
central axis and the ellipse’s minor axis join, while the major ellipse axis remains at a 90 degree angle.
Again, this relationship between circular base and cylinder body remains intact regardless of orientation.
To become more familiar with the construction of ellipses we have included an ellipse chart
exercise. In your student manual you will find the Ellipse chart reference sheet. This sheet
contains a series of ellipses evolving in perspective. There are specific instructions for how to
print this reference sheet so as to maximize your challenge.
directions:
The chart is to be doubled in size and duplicated inversely as shown on DVD 2. This is another
instance where familiarity with a comparative measurement method will prove quite useful. As
seen in the illustration on the left, establish the overall height and width of the chart. Proceed
to then add the central axis guide line and individual ellipses’ major axis. You can then measure
the distances between the major axes on your reference sheet, doubling the results for your
reproduction. From this simple schematic you should be able to determine the remaining
measurements. You may feel free to add any guidelines that are helpful to you. Just as with the
Sphere’s ‘x’ grid, keep the guidelines extremely light. You do not want these early schematic lines
to hinder the application of later value.
Take time to observe your cylinder model so as to analyze how the model’s ellipses behave when
your perspective is changed.
Just as observed in our cylinder model, we will need to add an ‘internal’, secondary ellipse to
the primary ones already populating the chart. This addition of a secondary inner ellipse will
describe the thickness of the cylinder body and further promote depth.
170
THE CYLINDER
The secondary ellipses will have the same degree of shape as the primary ellipse; however, it
will be reduced in size. To further communicate the effects of perspective, we will also shift the
inner ellipse above or below the primary axis line depending upon which part of the cylinder’s
base is closest to us.
In this example the bottom of the first ellipse is closest, so the inner ellipse is slightly shifted
above the primary ellipse’s axis, towards the top edge of the primary ellipse. This makes it
appear as though the thickness of the cylinder’s body is greater as it is nearer the viewer, as is
often observed in nature.
However, as the ellipse turns more towards the viewer and evolves closer to a circle, the axes
will grow closer and eventually align. Here the distance between the edge of the inner and outer
ellipse remain fixed.
Using your cylinder model as a reference guide, draw in the inner ellipses to give additional
dimension to the cylinder’s body. By replicating the ellipses found on the chart with your
cylinder model you can get a good sense of how far to shift inner ellipses.
To maximize variety throughout the Ellipse Chart Exercise, we will have the left evolution
column turn towards the viewer and the right evolution column turn away. This means that
inner ellipses on the left side will rise above the primary ellipses’ axes as the shape is distanced
from a circle, and below the primary axes on the right.
When the line drawing for your chart is established, revisit your cylinder model once again for value reference. With your primary
light source in the home position illuminating your cylinder, alter the tilt of the model so that you may arrive at evolving value
structures that can be reproduced on your chart.
On the right you will now see a completed version of this ellipse chart.
Replicate the Ellipse chart in your student manual and compete the assignment as
directed. Increase the size of your chart drawing so that it is precisely double the size of
the reference sheet’s example. Use your Cylinder model as a source of reference as often
as possible to ensure that your finished chart is as accurate as possible.
171
172
ELLIPSE CHART REFERENCE SHEET
Print @ 100 %.
Each ellipse on the reference
sheet should be 2” wide when
printed. The ellipses should
then be drawn doubled in size
@ 4”. Maintain all proportions
and distances between ellipses
when scaling up.
173
ELLIPSE CHART REFERENCE SHEET 2
174
THE CYLINDER - PHASE III
Goal: To explore the nature of the cylinder in a basic environment.
Ruler.
As with the Sphere, through observation, investigation, and repetition, we have explored a good
deal regarding the nature of the Cylinder and how we perceive it. We will now replicate this
geometric solid, with all of our common values of Chiaroscuro, in its environment.
Align your subject with your drawing surface and easel. Once you are aligned, you can use
general estimations, alignment tools, or comparative measurement methods to determine initial
measurements.
We now have the opportunity to now add in the final remaining values of Chiaroscuro, The Cast
Shadow and Cast Shadow Accent, to the Cylinder.
Remember that the shape of the Cast Shadow is very important to describing the form itself.
Take notice of how the cylinder’s cast shadow shape differs from that of the sphere. The end of
the Cylinder’s cast shadow may appear rounded and elliptical like that of the sphere as the ends
of the cylinder are circular.
ASSIGNMENT
To complete this phase of the Cylinder Build chapter, draw one Cylinder with surrounding environment.
Before beginning the drawing, carefully study how each shape and value work together to communicate
the form of the Cylinder. Keep your drawing as true to the actual size and value structure of your available
Cylinder model. Make every effort to replicate the observable shapes and values as accurately as you can.
175
THE CYLINDER - PHASE IV
Goal: To explore the nature of the cylindrical form in varied orientations.
Ruler, Cylinder Wheel Reference Sheet.
As the sphere’s shape was unaffected by its orientation in space, the cylinder is quite
different. To explore the many variations of shape and value influenced by the position
of the Cylinder we have added an exercise to this Chapter called The Cylinder Wheel
Exercise.
This exercise not only further familiarizes you with the nature of the Cylinder, but it
begins to develop your improvisational skills and your ability to make logical estimates.
Retrieve and print the Cylinder Wheel Reference sheet from your student manual.
The goal here is to arrange 8 Cylinders in varied orientations radiating from a central
point. Use the lines extending from the center point as your primary cylinder axis, A.
Major Ellipses axes, B can then be plotted perpendicular to lines A.
After your wheel schematic design is complete, add the values of Chiaroscuro to illustrate
the entire wheel as being illuminated from one single primary light source. You may
experiment with moving the primary light source position away from the commonly
used ‘home’ position as long as you make sure the light source position remains constant
throughout the exercise.
One of the great challenges that come with the Cylinder Wheel exercise is the ability to
implement plausible relationships between illustrated cylinders with limited resource
models. You must rely on your ability to observe, analyze, and improvise beyond what
you have done before to yield a strong unified representation of 8 Cylinders populating
the same image under one primary light source. Cast Shadows and Reflected lights
should be calculated carefully.
Create a Cylinder Wheel within the parameters described on the Cylinder

Wheel Reference Sheet found in your student workbook. Individual Cylinder
and overall Wheel sizes are open to design, but variety is encouraged. Use
your Cylinder model as a source of reference as often as possible. Remember
to pay close attention to Cast Shadows and Reflected Lights when considering
interaction between the Cylinders.
176
177
CYLINDER WHEEL REFERENCE
Arrange 8 Cylinders in varied orientations around a

central hub. Use the lines extending from the hub as
your primary cylinder axis (a). Ellipse axis (b) will then
run perpendicular to a. After your design is complete,
add value to illustrate the entire wheel as illuminated
from one light source.
178
THE CYLINDER - PHASE V
Goal: Demonstrate a thorough understanding of the sphere and cylinder by executing a work that contains
spherical and cylindrical subjects.
Sphere, Cylinder.
At this stage we have amassed a good deal of information regarding the nature of the cylinder
and how we perceive it. Our skills have further developed and we now prepare to create a Final
Cumulative Drawing to close out this challenging chapter. Unlike the Sphere’s Cumulative Final,
which was comprised of only spherical subjects, this chapter’s exercise grows to fulfill what its
title implies, a combination of both Spherical and Cylindrical subjects. As with the previous
Cumulative Final, this chapter’s version offers a departure from idealized model we have been
using in lieu of more varied spherical and cylindrical models.
Proceed to select and arrange 2 to 3 spherical and cylindrical objects into one composition. Make
every effort to have your subjects interact with one another and their environment. Make every
effort to challenge yourself by using subjects with texture or surface variations. Once again, this
project should be executed from actual models.
When your arrangement is ready and your drawing surface aligned, proceed with your normal
drawing process.
As your early drawing begins, remember to maintain the axes’ relationships when illustrating any
cylindrical objects. Regardless of orientation, these relationships will remain intact.
By better understanding how each stage is set to unfold, you may garner a better understanding of
the artist’s decisions throughout. As each stage develops, this image will become a more accurate
representation of the reference models on the left.
Remember to consider the influence of your form on your subject’s surface features. Values
that communicate the surface features will be greatly influenced by their location on the object.
Deviating from the value influences of the form when incorporating surface textures may cause
your subject to lose dimension and appear flatter. As with many of our other exercises thus far,
the goal of this project is create a faithful representation of your subjects. Make every effort to
maintain accurate proportions and value structures.
179
THE CYLINDER
Here are several additional examples of Sphere and Cylinder Cumulative drawings.
ASSIGNMENT
Arrange and execute a drawing containing 2 to 3 spherical and cylindrical subjects in an environment.
Make an effort to utilize subjects that have texture or surface variations. Be sure to develop some interaction
between the subjects and their environment when arranging the composition. Keep your drawing as true to
the actual size and value structure of your still life model. Make every effort to replicate the observable shapes
and values as accurately as you can.
Review all of the information presented up to this point. Feel free to revisit any of the exercises that we have covered. If applicable,
remember that your instructor is available to answer any questions regarding the information presented in this portion of the training
program.
180
REVIEW
As we prepare to continue with the next section let’s take a moment to review many of the concepts and skill building exercises we
have explored thus far.
One of the initial marks we encountered was the line. Defined simply as a dot in motion, the line and its’ confident use was
explored though a challenging exercise known as the Origin-Destination Exercise.
With a basic understanding of line, we moved into a practice of grouping various lines together to give rise to a new visual
element...Shape. Shape Replication exercises began to train our eye to see more analytically and our mind to comprehend the
visual characteristics that we started to notice. We began to consider size, distance, measurement, and relative perception while
learning to employ additional tools to assist in our observations, and ultimately, our drawing process.
Continued variation on the orientation of line led us to a new and challenging visual element to master....Value. Creating areas of
light and dark through the orientation of pressure controlled application could now offer a new invaluable tool that would bring
us far closer to capturing the world we perceive. We were introduced to a method of building confidence in the employ of dynamic
value through an extremely demanding series of exercises known as Pressure Scales.
With value added to our salvo, our focus turned once again to shape. A merging of the two visual elements, value and shape,
would yield a new exciting element...Form. Just as light visually describes a three dimensional world surrounding us, we can
use patterns of shape and value to replicate what we perceive and more. In the same manner that varied orientations of line give
rise to two dimensional shapes, values and shapes combine in varied orientations give rise to three dimensional form. Beginning
to understand and capture this three dimensional quality as defined by light makes our visual language that much greater.
Throughout the Gradation Block and Gradation Pattern exercises we began to see mild illusions of abstract form protruding out
from and receding into the drawing surface.
Our last installment allowed us to thoroughly explore a good deal about the first two solids, the Sphere and the Cylinder.
181
THE CONE
THE CONE – PHASE I – A
Goal: To further explore, through analysis and repetition, the manner in which light describes conical
forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cone, Ruler.
Shown here is a single upright cone placed within a Shadow Box. This particular
form tapers smoothly from a flat circular base to a point or apex. Here, the cone is
illuminated from the top, left, front, by a primary light source just
as were the Sphere and Cylinder studies in the previous exercises.
Once again, for our purposes here this light orientation will be referred to as our
‘home’ position. Take a moment to carefully move your primary light around and
observe how the values of the Cone are affected. Notice how the play of values
describes this form to us. Now take a moment to place the cone itself in different
positions. Notice how the overall shape, like the cylinder, is altered based on it’s
orientation to the viewer.
Return your cone to its initial upright orientation, and your primary light source to the home position, so that your Cone is
illuminated as shown. Again, just as with the previous studies of the Sphere and Cylinder, we are attempting to maintain a series of
standard variables that will allow us to focus more on the unique nature of each form.
In your initial examination of the Cone you may notice its’ similarity to the Cylinder in certain regards to the aforementioned
influence on its’ shape due to its’ orientation. Once again, we must look to the effects of perspective.
As mentioned in the previous installment, Perspective is a process of representing the spatial relation of objects as they might
appear to the eye. For example, whereas the sphere’s shape would remain a circle regardless of its orientation in space, a Cone’s
shape will appear to change as does its orientation.
In examining the body of the Cone a little closer here, we notice that the value structure is quite similar to that of the Cylinder.
However, closer inspection shows that the central gradations appear somewhat skewed in a way that seems to emulate the form’s
overall shape.
To explore this form further we will develop a schematic for repetition as with our
previous forms. We begin with a central axis that will divide the Cone and connect the
centers of the circular bases with the apex. Remember that the Cone’s base appears
elongated due to our perspective, and is observed as an ellipse. You will remember
that we introduced the concept of the elongated circle, or ‘ellipse’, when investigating
the cast shadow of the sphere and then again while immersed in our study of the
Cylinder. Notice here how the ellipse shape will change based on the orientation of the Cone. Further investigation into the
relationship between the body of the Cone and the base, we discover that the central axis that divides the Cone, and connects the
base to the apex, will occur perpendicular to the longest, or major, axis of the ellipse.
182
THE CONE
This is very similar to the X grid we used for the sphere schematic and the ‘I’ frame of the
Cylinder. Regardless of orientation, the central axis of the Cone and the long axis of the ellipse
will always meet at a 90 degree angle. No matter how complex the perspective may become,
this relationship of central body and base axis will remain intact.
Notice how the overall shape of the Cone changes as the orientation is altered. Carefully
observe how the values work to describe the form of this solid. Again, while we are just
beginning to investigate this form, many of its attributes may again seem very familiar.
STEP 1
Let’s begin, as we did with the Sphere and Cylinder by simplifying the entire form. In fact, let’s
lose the base all together and just tackle the more familiar, central, curvilinear component.
With our light source in the home or top, left, front position, we can see that light grades in
different directions, with different ranges, and at different rates as determined by the form itself.
To establish a schematic for this form, we will re-incorporate the central axis line to bisect the
central Cone body. For the Cylinder, we added two parallel lines equidistant from the main axis
and the outer edge to divide the form into four quadrants. However, to divide this particular
form into the 3:1 light ratio, we must alter the Cylinder schematic so that the quadrants will
converge from base to apex just as the form itself tapers.
With this division we can again establish our 3:1 light to shadow ratio.
While observing this particular form in this orientation and lighting scenario, we can see that
the brightest value still occurs at the first quadrant boundary line and the main light/shadow
separation occurs at the last quadrant boundary line. These specific values will also swell and
taper as defined by their location to or from the base or apex.
Just as with the previous Cylinder study, we will simplify our exploration of this form and just
focus on the main horizontal light to dark gradation. Begin by establishing an upside-down “T”
frame that is 4” high by 3” wide. From the ends of the bottom 3” base line, establish two lines
that converge to the top of the 4” central axis line thus creating a triangle.
We will also establish reference lines to indicate major light and dark separations as in previous
gradation exercises. Divide the triangle into quadrants as with our earlier Sphere and Cylinder
schematics. Our far left quadrant boundary will act our highlight anchor and the far right as our
main light and shadow separation line.
STEP 2
With a general schematic established, begin to add value as we have in the other value gradation-based exercises. As to our value
range and rate of change, we will set the exercise parameters for a full value range, bright white to rich black, and a somewhat short
main transition at the indicated central light/dark separation line. Rather than estimate, you can use the upright Cone we previously
examined as a reference source.
Consider removing any remnants of the schematic grid as it may have adverse effects on your value application and gradation.
183
THE CONE
STEP 3
Take note of how the gradation rate of change differs between the area near the base of the
cone and its’ apex. As the space between the light and dark becomes compressed, so the
rate of change occurs at a quicker pace. Make sure to take this dynamic into account when
applying your initial gradation tapers.
This horizontal gradation exercise, based on a simplified Cone-like form, will make up
the first phase of our Cone Build repetition exercises. Your goal here will be to accurately
replicate this configuration of shape and value consistently.
ASSIGNMENT
Continue to perform this segment of the Cone Build exercise until at least 2 full sheets of paper are filled (front
and back). Keep each Cone Build repetition consistent in size. Confident and consistent execution is key here
to develop strong, valuable skill sets.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you on how
to make the most of your paper’s work area.
184
THE CONE – PHASE I – B
Goal: To further explore, through continued analysis and repetition, the manner in which light
describes conical forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cone
As we observe the manner in which our primary light source defines our isolated form, we
must incorporate the additional gradations we observe into our Cone Build exercise. In an
effort to replicate the effects of the observed light on the Cone model, we must add additional
multi- directional gradations that will not hinder the success of the initial horizontal gradation.
In the same way the light subtly cascades over the curvilinear form, so must we carefully add
subtle value gradations to our Cone Build. Adding these values too harshly, or abruptly, may
cause the bottom of the Cone build to appear stained or even bent. These values, however
subtle, have a very strong influence over how the form is ultimately communicated.
Be mindful of your effect on the rate of change and value range on your primary horizontal
gradation. Refer to your actual Cone model for additional reference for how light or dark to
push your secondary gradations.
This additional series of secondary value gradations will make up the second phase of our
Cone Build repetition exercises. Your goal here will be to carefully incorporate the secondary
gradations to more accurately replicate the manner in which light defines the curvilinear base
of the cone.
Do not add these secondary values to your previously executed Cone Build stage exercises.
Start fresh with new ones as the continued repetition and additional experience will enhance
your developing skill-sets.
ASSIGNMENT
and back). Carefully incorporate the secondary gradations while maintaining the integrity of the primary
horizontal gradation.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you on how to
make the most of your paper’s work area.
185
THE CONE – PHASE I – C
forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cone
Now that we have established a strong series of gradations that begin to successfully
communicate the body of the Cone, we must revisit the model to take a deeper look at the
values that reveal its form.
We will re-administer the effects of the reflected light in our example shown here to make the
common values of Chiaroscuro we explored, far more evident. You can review the in-depth
explanation of all seven values of Chiaroscuro we have explored by reviewing earlier chapters.
Thus far, our Cone build contains a general Highlight, Middle-Tone, and Attached Shadow.
Our Cast Shadow and Cast Shadow accent are not currently applicable; however we can still
add the Reflected Light. The addition of the Reflected Light will allow the Attached Shadow
Accent to become more apparent.
Refer to your Cone model to reference the intensity of the reflected light, it’s rate of change,
our Cone build, we arrive at the goal for the third phase of our Cone Build exercise.
Do not add these additional common values of Chiaroscuro to your previously executed Cone
Build stage exercises. Start fresh with new ones as the continued repetition and additional
experience will enhance your developing skill-sets.
ASSIGNMENT
and back). Keep each Cone Build repetition consistent in size. Confident and consistent execution is key here
to develop strong, valuable skill sets.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you on how to
make the most of your paper’s work area.
186
THE CONE EXERCISES EXAMPLES
187
THE CONE – PHASE II
Goal: To explore the nature of the cone in a basic environment.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Cone
Returning to our Cone model we must now incorporate the aspects we had removed to initially
simplify our study: the circular bases, or as seen in this perspective, ellipses.
As with the earlier forms, through observation, investigation, and repetition, we have explored
a good deal regarding the nature of the Cone and how we perceive it. We will now replicate
this geometric solid, with all of our common values of Chiaroscuro, in its environment.
general estimations, alignment tools, or comparative measurement methods to determine
initial measurements.
We now have the opportunity to now add in the final remaining values of Chiaroscuro, the
Cast Shadow and Cast Shadow Accent, to the Cone. Remember that the shape of the Cast
Shadow is very important to describing the form itself. Take notice of how the Cone’s Cast
Shadow shape differs from that of the Sphere or Cylinder.
Proceed to draw one Cone upright with a simple surrounding environment. Use careful
observation, and the same drawing procedure we have utilized thus far to capture this basic
geometric solid.
ASSIGNMENT
To complete this phase of the Cone Build chapter, draw one Cone with surrounding environment as
illustrated. Before beginning the drawing, carefully study how each shape and value work together to
communicate the form of the Cone.
Keep your drawing as true to the actual size and value structure of your available Cone model. Make
every effort to replicate the observable shapes and values as accurately as you can.
188
THE CONE – PHASE III
Goal: To explore the nature of the conical form in varied orientations.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Cone, Cone
Wheel Reference Sheet.
As our exploration of the Cone continues, we once again look to effects of perspective on
the cone’s shape due to its’ orientation. To explore the many variations of shape and value
influenced by orientation we will again visit a challenge familiar to us from our study of
Cylinders, The Cone Wheel Exercise.
This exercise not only further familiarizes you with the nature of the Cone, but it continues to
develop your improvisational skills and your ability to make logical estimates. Retrieve and
print the Cone Wheel Reference sheet found on your student manual CD.
The goal here is to arrange 8 Cones in varied orientations radiating from a central point. Use
the lines extending from the center point as your primary Cone axis, A. Major Ellipses axes, B
can then be plotted perpendicular to lines A. After your wheel schematic design is complete,
add the values of Chiaroscuro to illustrate the entire wheel as being illuminated from a single
primary light source. You may experiment with moving with the primary light source position
away from the commonly used ‘home’ position as long as you make sure the light source
position remains constant throughout the exercise.
One of the great challenges that come with the Cone Wheel exercise is the ability to implement
plausible relationships between illustrated Cones with limited resource models. You must rely
on your ability to observe, analyze, and improvise beyond what you have done before to yield
a strong unified representation of 8 Cones populating the same image under one primary light
source. Cast Shadows and Reflected lights should be calculated carefully.
Proceed to create a Cone Wheel within the parameters described on the Cone Wheel
Reference Sheet found in your student workbook. Individual Cone and overall Wheel
sizes are open to design, but variety is encouraged. Use your Cone model as a source
of reference as often as possible. Remember to pay close attention to Cast Shadows and
Reflected Lights when considering interaction between the Cones.
189
CONE WHEEL REFERENCE
Arrange 8 Cones in varied orientations around a central

hub. Use the lines extending from the hub as your
primary cone axis (a). Ellipse axis (b) will then run
perpendicular to a. After your design is complete, add
value to illustrate the entire wheel as illuminated from
one light source.
190
191
THE CONE - PHASE IV
Goal: Demonstrate a thorough understanding of the sphere, cylinder and cone by executing a work that
contains spherical, cylindrical and conical subjects.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Ruler, Easel, Sphere,
Cylinder, Cone.
At this stage we have amassed a good deal of information regarding the nature of the Cone and
how we perceive it. Our skills have further developed and we now prepared to create a Final
Cumulative Drawing to close out yet another challenging chapter. As we are on our third form,
our Cumulative exercise grows to include Spheres, Cylinders, and now---Cones. As with the
previous Cumulative Final, this chapter’s version offers a departure from idealized model we have
been using in lieu of more varied models.
Proceed to select and arrange an assortment of objects which emulate the Sphere, Cylinder and
Cone into one composition. Make every effort to have your subjects interact with one another
and their environment. Make every effort to challenge yourself by using subjects with texture or
surface variations.
Once again, this project should be executed from actual models. When your arrangement is ready
and your drawing surface aligned, proceed with your normal drawing process.
As your early drawing begins, remember to maintain the axes’ relationships when illustrating any
Cone-like objects. Regardless of orientation, these relationships will remain intact.
your subject to lose dimension and appear flatter.
As with many of our other exercises thus far, the goal of this project is create a faithful
representation of your subjects. Make every effort to maintain accurate proportions and value
structures.
To complete this chapter of the training series, arrange

and execute a drawing containing a balanced assortment
of subjects which emulate the Sphere, Cylinder, and
Cone in an environment. Make an effort to utilize
subjects that have texture or surface variations. Be sure
to develop some interaction between the subjects and
their environment when arranging the composition.
Keep your drawing as true to the actual size and value
structure of your available still life model. Make every
effort to replicate the observable shapes and values as
accurately as you can.
192
193
THE CUBE
THE CUBE – PHASE I – A
forms.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cone, Ruler.
Shown here is a single Cube placed within a Shadow Box. As described in previous
chapters, The cube is a three dimensional equivalent of a square. It is a basic geometric
solid bounded by six square faces, facets, or sides.
Starting with your light in the home position and your cube oriented as shown, take a
moment to carefully move your primary light around and observe how the values of
the Cube are affected. Now move the cube from its position to see how its overall shape
changes as you alter its orientation.
Carefully observe how the play of value and orientation of shape describe this form
to us. When you are finished observing, return your primary light source to the home
position and your Cube model to the position shown.
As we study the Cube, we should note its similarity to the Cylinder and Cone in regards to the effects of shape and orientation.
While the subtle gradations found on each face of the cube may seem very familiar to us, a challenging new aspect for us to explore
within this form is the abrupt plane changes that populate the cube. These sharp facet or plane separations will result in extremely
fast rates of change, and will stand in sharp contrast to the extremely subtle value shifts that populate the planes themselves.
However, the sharper ‘plane shift’ gradations may seem somewhat familiar as fast rate-of-change gradations were included in the
earlier Gradation Pattern exercises.
In order to build a schematic for this particular form that will offer a challenge of successfully balancing slow and fast transitions, we
will make a few changes to the basic format we have been using thus far.
We will construct our basic cube schematic out of 3 sets of parallel, or perhaps slightly converging lines. One set which contains a
center line and 2 parallels that run perpendicular to our resting surface, and two sets which will travel east and west from the center.
These sets of lines will establish 3 visible planes of the cube. Please follow the illustration carefully as we proceed with this initial
build.
To begin this schematic construct, establish an upside down ‘T” frame just as we did with the Cone. This frame will measure 3”
wide at the base and 2 3/4” high from the center of the base.
Add two lines parallel and equidistant from the center T frame at the ends of the 3” base. These lines however, will only be 2 1/2”
inches high. This configuration will result in a somewhat stylized “W”.
Next we will add markers for the other lines at three specific points- One marker on each outer parameter line at 1/2” from the base
and one that is 3/4” from the top, or 2” from the bottom.
194
THE CUBE
We will then add 2 lines extending east and west from the base center to the bottom 1/2” outer
line markers and two lines extending east and west from the center top marker to the top of the
outer boundary lines.
The final two lines will extend from the tops of the outer boundary lines to the top of the central
line. All of the lines extending east and west from the center may ever-so-slightly converge as to
enhance the illusion of perspective, but for the purposes of this exercise, they may remain as 3
sets of parallel lines. The result is a Cube schematic for the use with the form repetition excises.
With our light source in the home position, we can see that light grades in different directions,
with different ranges, and at different rates as determined by the form itself. Due to the nature
of this faceted form, we will alter the standard 3:1 light to shadow ratio in lieu of a more form-
appropriate 2:1 light to shadow ratio.
In observing this particular form within this orientation and lighting scenario, we can see that
the main light and dark separation will occur between the two light planes and the one shadow
plane, while the brightest values culminate near the central meeting of all three planes.
Just as with the previous form studies, we will simplify our exploration of this form and focus
on the main light to dark gradation. However, since this overall separation is so abrupt, we
will also include the subtle multi-directional value gradations found on both light planes. The
challenge here is to execute the subtle plane gradations while maintaining the clearly defined,
chevron-like shape of the cube’s illuminated section.
STEP 1
Begin by establishing an upside-down “T” frame that is 2 and 3/4” high by 3” wide. Add two 2 1/2” parallel lines equidistant from
the center line at each end of the 3” base. This configuration will result in the somewhat stylized “W”. Three markers are then
added for the additional lines. One on each outer parameter line, 1/2” from the base and one that is 3/4” from the top or 2” from
the bottom.
We will then add 2 lines extending east and west from the base center to the bottom 1/2” outer line markers and two lines
extending east and west from the center top marker to the top of the outer boundary lines.
The final two lines will extend from the tops of the outer boundary lines to the top of the central line. Once again, all of the
lines extending east and west from the center may ever-so-slightly converge as to enhance the illusion of perspective, but for the
purposes of this exercise, they may remain as 3 sets of parallel lines.
STEP 2
With a general schematic established, begin to add value as we have in the other value
gradation-based exercises. As to our value range and rate of change, we will set the exercise
parameters for a full value range, bright white to rich black, and an abrupt main transition at
the indicated central light/ dark separation line as observed in the Cube model. Again, rather
than estimate, you can use the previously examined Cube model as a reference source.
Consider removing any remnants of the schematic line work as it may have adverse effects on
your value application and gradation.
195
THE CUBE
STEP 3
Remember to administer the subtle gradations that populate the Cube model in this lighting scenario. Here, we see a very subtle
dark to light transition occurring on the illuminated front plane moving in a somewhat Northeast direction while the top plane
contains a similar diagonal gradation, occurring from the top or back end of the plane and moving South towards the front. Both
planes seem brightest at the central intersection on all three visible planes.
This initial Cube build gradation exercise will make up the first phase of our Cube Build repetition exercises. Your goal here will be
to accurately replicate this configuration of shape and value consistently.
ASSIGNMENT
Continue to perform this segment of the Cube Build exercise until at least 2 full sheets of paper are
filled (front and back). Keep each Cube body gradation consistent in size, range of value, and rate of
change. Confident and consistent execution is key here to develop strong, invaluable skill sets.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you
196
THE CUBE – PHASE I – B
Goal: To accurately and consistently replicate the cube with additional Chiaroscuro values.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cube, Ruler.
Now that we have established a strong series of gradations that begin to
successfully communicate the illuminated area of the Cube, we must revisit the
model to take a deeper look at the values that reveal the remainder of its form.
We will re-administer the effects of the reflected light in our example shown
here to make the common values of Chiaroscuro we explored far more evident.
You can review the in-depth explanation of all seven values of Chiaroscuro we
have explored in earlier chapters.
Thus far, our Cube build contains a general Highlight, Middle-Tone, and
Attached Shadow. Our Cast Shadow and Cast Shadow accent are not currently
applicable, however we can still add the Reflected Light. The addition of
the Reflected Light will allow the Attached Shadow Accent to become more
apparent.
Refer to your Cube model to reference the intensity of the reflected light, it’s
rate of change, and other variables that you otherwise may need to estimate.
With 5 of the 7 common values of Chiaroscuro successfully communicating the
form of the Cube, we arrive at the goal for the second phase of our Cube Build
exercise.
Do not add these additional common values of Chiaroscuro to your previously

executed Cube Build stage exercises. Start fresh with new ones as the
continued repetition and additional experience will enhance your developing
skill-sets.
ASSIGNMENT
Continue to perform this segment of the Cube Build exercise until at least 2 full sheets of paper are
filled (front and back). Keep each Cube body gradation consistent in size, range of value, and rate of
change. Confident and consistent execution is key here to develop strong, invaluable skill sets.
Maximize your space to get as much practice as possible. If applicable, your instructor can guide you
197
THE CUBE – PHASE II
Goal: To explore the nature of the cube in a basic environment.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Cube, Ruler
As with the earlier forms, through observation, investigation, and repetition, we have explored
a good deal regarding the nature of the Cube and how we perceive it. We will now replicate this
general estimations, alignment tools, or comparative measurement methods to determine initial
measurements.
We now have the opportunity to now add in the final remaining values of Chiaroscuro, the Cast
Shadow and Cast Shadow Accent, to the Cube.
Take notice of how the Cube’s cast shadow shape differs from that of the Sphere, Cylinder or
Cone. Proceed to draw one Cube with a simple surrounding environment. Be sure to carefully
observe your subject prior to start. Be sure to use the same drawing procedure we have utilized
thus far to capture this basic geometric solid.
To complete this phase of the Cube Build chapter, draw one Cube with surrounding
environment as illustrated. Before beginning the drawing, carefully study how each shape
and value work together to communicate the form of the Cube.
Keep your drawing as true to the actual size and value structure of your available Cube
model. Make every effort to replicate the observable shapes and values as accurately as
you can.
198
THE CUBE EXERCISES EXAMPLES
199
THE CUBE – PHASE III
Goal: To explore the nature of the cubical form in varied orientations.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Ruler, Cube,
Cube Wheel Reference Sheet.
As our exploration of the Cube continues, we once again look to the effects of
perspective on the Cube’s shape due to its orientation. To explore the many variations
of shape and value influenced by orientation we will again visit a challenge familiar to
us from our study of Cylinders and Cones, The Cube Wheel Exercise.
This exercise not only further familiarizes you with the nature of the Cube, but it
continues to develop your improvisational skills and your ability to make logical
estimates.
Retrieve and print the Cube Wheel Reference sheet from your student manual.
At first glance you may notice that this particular wheel assignment is far different from
the Cone and Cylinder wheels. While previous wheels were open to creative design
within a given set of parameters, the Cube wheel must be created from a predetermined
schematic. While this wheel can be creatively illuminated, the exact proportions from
the model sheet must hold true.
The goal here is to replicate this Cube-themed schematic so that the center square
measures 2x2”. Throughout the enlargement process you are to maintain all
proportions. Pay very close attention to all measurements as they are all not perfect
cubes. All of the red lines in the schematic are for construction/alignment purposes
and should NOT appear in the final product.
When the wheel schematic is complete, add the values of Chiaroscuro to illustrate
the entire wheel as being illuminated from a single primary light source. You may
used ‘home’ position as long as you make sure the light source position remains
constant throughout the exercise.
Once again, take great care to record accurate measurements and maintain exact
proportions throughout this exercise. Remember that you must rely on your ability
to observe, analyze, and improvise to yield a strong unified representation of 8 Cubes
populating the same image under one primary light source. Cast Shadows and
Reflected lights should be calculated carefully.
Proceed to create a Cube Wheel within the parameters described on the Cube
Wheel Reference Sheet found in your student workbook. The entire Cube
wheel should be based on a 2x2” center square with all proportions maintained
accordingly. Use your Cube model as a source of reference as often as possible.
Remember to pay close attention to Cast Shadows and Reflected Lights when
considering interaction between the Cubes.values as accurately as you can.
200
CUBE WHEEL REFERENCE
Reproduce the Cube-themed schematic below in proportion so that the central square measures
2x2”. Pay close attention to all measurements thought out as they are not all perfect cubes.
Red Lines are for construction/alignment purposes and should not appear in the final product.
Proceed to add value so that all forms are illuminated from one light source. Promote interaction
between the forms with Cast Shadows and Reflected lights.
THE CUBE – PHASE IV
Goal: Demonstrate a thorough understanding of the sphere, cylinder, cone and cube by executing a
work that contains spherical, cylindrical, conical and cubical subjects.
Materials: Paper, Charcoal Pencil, White Pastel Pencil, Kneaded Eraser, Sharpener, Easel, Tape, Ruler,
Sphere, Cylinder, Cone, Cube.
At this stage we have amassed a good deal of information regarding the nature of the Cube and
how we perceive it. Our skills have further developed and we are now prepared to create a Final
Cumulative Drawing to close out yet another challenging chapter. As we are on our fourth and
final form, our Cumulative exercise grows to include Spheres, Cylinders, Cones and now Cubes.
As with the previous Cumulative Final, this chapter’s version offers a departure from the idealized
model we have been using in lieu of more varied models.
Proceed to select and arrange an assortment of objects which emulate the Sphere, Cylinder,
Cone and Cube into one composition. Make every effort to have your subjects interact with one
another and their environment. Make every effort to challenge yourself by using subjects with
texture or surface variations. Once again, this project should be executed from actual models.
When your arrangement is ready and your drawing surface aligned, proceed with your normal
drawing process.
your subject to lose dimension and appear flatter.
As with many of our other exercises thus far, the goal of this project is to create a faithful
representation of your subjects. Make every effort to maintain accurate proportions and value
structures.
By better understanding how each stage is set to unfold, you may garner a better understanding of
the artist’s decisions throughout. As each stage develops, this image will become a more accurate
representation of the reference models.
To complete this chapter of the training series, arrange and execute a drawing containing
a balanced assortment of subjects that emulate the Sphere, Cylinder, Cone, and Cube in
an environment. Make an effort to utilize subjects that have texture or surface variations.
Be sure to develop some interaction between the subjects and their environment when
arranging the composition. Keep your drawing as true to the actual size and value
structure of your available models. Make every effort to replicate the observable shapes
and values as accurately as you can.
202
THE CUBE CUMULATIVE EXERCISES EXAMPLES
203
THE CUBE CUMULATIVE EXERCISES EXAMPLES
204
THE GAUNTLET
Goal: Complete the Drawing portion of the training program by executing a masterful work that
demonstrates the drafting skills and individual aesthetic developed thus far.
For years, the final drawing challenge within the Waichulis training system was to demonstrate the skills apprentices have garnered
by tackling a large composition that had been assembled by colleagues in the program. The final challenge became known as The
Gauntlet. As the Waichulis program evolved, students gained more and more input regarding the content and composition of their
own gauntlet, resulting in the challenge becoming a final creative drawing assignment that surpassed all previous creative works up
to this point. However, this final drawing project is still known as The Gauntlet to this day.
Here are the parameters of this final drawing assignment:

As with the other Creative Works up to this point, Apprentices may explore any subject or genre when embarking on a Final
Gauntlet project. However, while the subject matter is completely up to the individual, each of the four forms should be
emulated in some way. As with all Cumulative Drawings up to this point, subjects should interact with one another and their
environment. Additionally, the artist should make every effort to increase the challenge by using subjects with robust texture or
surface variations. Artists should employ the same drawing materials that have been presented in the program thus far. Any 2D
or 3D reference sources available to the artist may be used to complete this project. Replication is not the ultimate goal with The
Gauntlet, rather, the artist may use as much creative license as he or she sees fit.
The artist may use any applicable measurement system or technique in the creation of this project. It should be noted however, that
it is highly recommended that procedures here do not stray from skill-sets garnered within the program. If applicable, instructors
may advise in the planning of this project or may serve in an advisory capacity if desired, but will ultimately leave all of the creative
decisions in the hands of the artist.
ASSIGNMENT
Complete the Drawing portion of the training program by executing a masterful work that
demonstrates the drafting skills and individual aesthetic developed thus far. You may explore any
subject or genre; employ any technique, reference material, or creative license that may suit your
purpose. The size of this final piece should be at least 20x20” and should surpass the scope of all
Creative Projects, Cumulative Works, or Natural Form Projects up to this point.
205
BARGUE PLATE WALKTHROUGH
THE FOLLOWING IS AN EXCERPT FROM THE FREE LESSON PLAN”BARGUE PLATE”.
WRITTEN BY MANDY HALLENIUS (WWW. MANDYHALLENIUS.COM)
background information
Bargue Plates are part of a French 19th century drawing
course created by Jean-Leon Gerome and Charles Bargue.
The course was one of the first drawing curricula ever

created for the equivalent of high school students to
improve their draftsmanship and visual literacy.
Bargue Plates teach students proportion, value, and other

essential drawing skills, and are used by contemporary
artists to increase their visual literacy. Many of the lessons
found in these plates are used by contemporary artists in
their work.
In fact, even abstract artists such as Pablo Picasso studied

Bargue Plates.
Bargue Plate from the Charles Bargue
Drawing Course
SUMMARY MATERIALS
In this lesson, students will increase their visual • Bargue Plates

literacy by applying a drawing process, learning new • Drawing Paper
techniques for identifying and correcting drawing • Pencil
errors, and practicing their hand-eye coordination.
• Kneaded Erasers
• Masking Tape
• Measuring Tool (Ruler, pencil, etc..)
206
More information can be found at: STEP 3
www.davinciinitiative.org
Add any appropriate guidelines that you
STEP 1 like. Here a plumb line was established as
a guide for a true vertical. In art, plumb
Tape the Bargue Plate next to a clean piece lines are undeviating vertical lines used as a
of drawing paper on a drawing board or reference when determining alignment.
desktop.
STEP 2
STEP 4
Make a boundary or space box on your
Draw an envelope around the image on
original Bargue Plate, and then draw the
your original Bargue Plate, and then draw
exact same box on your drawing paper.
the same envelope on your drawing paper.
Measure the distances between sides to
make sure they are the same.
207
Here you will see the use of the follow–through lines which are guidelines extensions of certain lines so that angles and
intersections can be more closely compared or examined.
STEP 5
Extend lines on the original Bargue Plate so
that they become
follow-through lines.
Ask students if they notice anything about

the way the original artist uses lines. Most
artists that work from observation will
use just a handful of lines angles when
describing an object. Using a small number
of line angles helps artists to organize a lot
Above: Identify the shorter line. of very complex visual information into
Below: Extend the line until it reaches the something easier to comprehend.
boundary box. Transfer this follow-through
line to your drawing paper.
STEP 7
STEP 6
Once you have extended several lines and
Make more follow-through lines. It is found their patterns, it is ok to erase back
important to extend the smaller lines every the part of the line that you do not need.
time. This way you can discover patterns Continue placing lines until all of the lines
and repetitions in the way lines is used by from the original plate are placed on your
the original artist. drawing paper.
208
STEP 8 STEP 10
Tape the next stage of the Bargue Plate After completing the second stage of the
over top of the first stage on your drawing Bargue plate, tape the final stage onto your
board. This stage looks similar to the first drawing board.
stage, but has more information on it.
STEP 9
Use the same process of creating follow-
through lines on the second stage of the
Bar-gue Plate. Be aware that there are
some shifts that happen when placing the
second plate because the original plates
were lithographs and each plate is a new
drawing.
209
STEP 11 STEP 13
Fill in the shadow shape with one even Working from the shadow towards the
darker value. Do not press so hard that light, lay down value with your pencil
you damage the paper. Build up the value to match the values that you see in the
gradually. Pull out dark spots with your plate. Remember that the shadow areas
kneaded eraser, and fill in light areas with are much darker than the darker areas
the point of your pencil. in the light. The small amount of light in
the beard, known as the reflected light, is
actually quite dark, even through it seems
light. Work slowly and carefully until your
drawing looks the most like the original as
possible. Careful observation will increase
your visual literacy, and help your eye to
see more nuanced differences in other
subjects that you observe.
STEP 12
Find additional details by finding the big

shapes first. For example, on the hair, see if
you can find the big triangle shape before
breaking it into smaller pieces.
210
ADDITIONAL RESOURCES
Art Renewal Center
Online Image Museum
www.artrenewal.org
Charles Bargue Drawing Course

Charles Bargue drawing course: with the collaboration of Jean-
Léon Gérôme
Charles Bargue – Jean-Léon Gérôme – Geald
M. Ackerman – Graydon Parrish – ARC Edition – 2003
Classical Drawing Atelier: A Contemporary Guide to

Traditional Studio Practice
Juliette Aristides – Watson-Guptill Publication – 2006
Lessons in Classical Drawing: Essential Techniques

from Inside the Atelier
Juliette Aristides – Watson-Guptill Publication – 2011
Measuring Methods for Artists

by Larry Withers format DVD
211
BARGUE PLATES
212
BARGUE PLATES
213
BARGUE PLATES
214
BARGUE PLATES
215
BARGUE PLATES
216
BARGUE PLATES
217
Select content from several contemporary curricula including
the Waichulis Language of Drawing, Language of Painting
and Visual Language Programs.
(PART II)
NOTE: All of the Shape Replication Model Sheets can be found in Visual Language Core Part I.
WET MEDIA MATERIALS
Wet Media Materials used with the Waichulis Curriculum Language of Painting
Our journey into the Language of Painting program begins with an examination of the tools we will need to get started. Today it is
quite easy to be overwhelmed by the immense array of painting materials available. Art stores and catalogs are rife with a seemingly
unending variety of paints, brushes, mediums, surfaces, varnishes, and assorted painting paraphernalia. However, navigating this
vast ocean of possibilities can be made easier if we view it through a simple framework. We will need to determine our media, the
process and tools that will deliver it, and the surface that will receive it.
In this first chapter of the Language of Painting series, we will present information and recommendations regarding initial mate-
rials according to the requirements of our program. By taking time to consider the properties of your materials you can take your
first steps towards ensuring your creative efforts are successful, economical, and ultimately very enjoyable.
The Language of Painting program was designed primarily for the use of Oil paint. While the exercises can be easily adapted to
other media, our use of oil paint as the primary painting medium throughout will be the initial governing factor in our material
recommendations.With our media determined, we will look to the surface that will receive it.
In addition to media choice, we should carefully consider our intended painting process. For example, a process involving bold
applications of thick paint would lend itself to a toothed surface that is capable of accepting such applications. In contrast, a more
conservative application of paint would most likely find a smoother surface far more welcoming.
219
CANVAS
Even with the consideration of media and process, our available options are still quite substantial. Canvas is by far the most widely
used surface foundation for Oil painting. It is an extremely heavy-duty plain-woven fabric that is typically stretched across a wood-
en frame or adhered to a support panel. It is then prepared with an appropriate primer designed to accept intended media. Canvas
can be made from cotton, linen or other synthetic materials and is commonly available in two basic types: plain and duck.
Canvas Texture Canvas Unprimed Cotton Canvas Primed Cotton Duck
The threads in duck canvas are more tightly woven. The term duck comes from the Dutch word for cloth, doek. In the United
States, canvas is classified in two ways: by weight (ounces per square yard) and by a graded number system. The numbers run in
reverse of the weight so a number 10 canvas is lighter than number 4.
Each canvas material has pros and cons. The strength of the weave, the texture of the fabric, availability, and
affordability are all variables should be carefully weighed.
PANEL
Another very popular painting surface option is the Panel. This family of supports also includes a wide selection including, but not
limited: Masonite, Plywood, Particleboard, Medium Density Fiberboard (MDF), and Illustration board. Each of these materials
also requires an appropriate primer designed to accept intended media.
Just as with the canvas, each panel material has its pros and cons. The strength and weight of the panel, the texture of its surface,
availability, and affordability are all variables should be carefully weighed.
Masonite MDF-Board Particleboard Plywood
Certain panel materials can be prone to warpage and splitting. However, this can be avoided or minimized with proper priming
and/or careful preparation. On the positive side, panels are often more affordable to acquire and prime as opposed to canvas. In
addition, panels are arguably more durable, easier to store, and transport. This, along with the fact that the rigid panel dynamic is
far more akin to the dynamic experienced within our drawing program, makes the panel our recommended support.
220
Our specific panel of choice is Masonite. You should note that the name “Masonite”
is a brand name for “compact hardboard”. It is strong, lightweight, and available in
two forms: Tempered and Untempere.
While both are commonly used by painters today, the tempered version was
initially unsuitable for effective priming as the process of tempering involved
immersing the panels into tanks of linseed oil for hardening. This process would
leave an oily residue that caused adhesion problems for priming agents. Today this
process has drastically changed and only a very small amount of oil is applied with a
roll coater and then baked. Most of this oil is flashed off when the boards are baked
at temperatures approaching 400 degrees F. This current process of oil “tempering”
does not leave an oil residue on the panel and thus leaves the door open for effective
priming procedures.
In addition to Masonite, many of our artists also use canvas board or canvas panels
for a good number of their early exercises. These panels are often inexpensive.
They are composed of primed cotton canvas mounted to a rigid support. Since
these canvas panels come pre-primed, they will often require little or no preparation
prior to use. This is quite convenient for an enthusiastic artist. The tradeoff is that
due to the thin nature of the Canvas board’s support and inexpensive priming, they
can seldom be used more than once or twice for repetitive Language of Painting
exercises. Carefully primed Masonite panels (primed in the manner we will introduce) will generate panels that can be used over
and over again until the ground begins to deteriorate.
It is important to also note that there are many other supports that can be experimented with.
Papers, metals, and other materials have been giving rise to countless brilliant painting endeavors for many years. As with every
material option you are faced with throughout the Language of Painting program, we encourage
as much research and experimentation as possible.
Before moving forward with surface preparation, let’s establish a few key terms regarding painting surfaces:
A support is the actual surface or backing material that is being used for a painting surface. This can be Canvas, Panel, Paper, etc.
The ground is a prepared surface that is primed to accept a particular media. It creates an absorbent surface on which paints will
properly bind. In addition, the ground helps to separate mildly acidic oils from the support, and allows the painting to retain its
brilliance of color. Grounds are usually white, enabling light to reflect from the surface.
The tooth is the degree of surface roughness. Often, surfaces with greater tooth can hold more material than lesser-toothed
surfaces.
Let’s take a look at the differences between the support and ground for our painting surfaces Masonite Panel
of choice.
Here is an unprimed Untempered Masonite—our support—and the primed surface--our

ground.
Now--an unprimed canvas support next to a primed canvas ground. During the application of Support ground
a ground to your support, you can manipulate the degree of surface tooth that results. Again,
it is important to consider how you intend to apply media during your painting process to de- Canvas
termine ideal tooth. Our particular painting process does NOT use a liberal amount of paint
and therefore a medium to low tooth would be
most advisable.
Support ground
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Before the use of modern acrylic priming materals, painters primed both flexible and rigid supports with what is called “Gesso”. It is
a mix of an animal glue binder (usually rabbit-skin glue), chalk, and white pigment. Such traditional ground preparations are still
used today, however modern day acrylic polymer gessoes have become far more common due to their versatility, ease of use, rapid
drying, and flexibility.
PREPARATION PROCESS FOR UNTEMPERED MASONITE WITH ACRYLIC GESSO
Directions:
Step 1
Begin with a ¼ inch thick piece of Untempered Masonite that is pre-cut to a desired
size. It is important to note that it is recommended to prepare at least three 16x20”
panels for use with the Language of Painting exercises.
We encourage you to carefully inspect each panel for defects prior to priming. If
the board appears A-OK, you can proceed to prepare the support for the priming
process. To do this, you will need a small electric sander or sanding block. We rec-
ommend a sanding grit of about 220. Grit too smooth will do very little while a grit
too abrasive will aggressively scratch and mar the surface.We do not recommend
sanding by hand with sandpaper alone. Your hand is a very uneven surface and this
unevenness will often transfer to your developing support. Be sure to use a sander
or sanding block to ensure an even surface
development.
We strongly recommend the use of safety glasses, a particulate respirator, and a

well-ventilated area to facilitate the support preparation process. Each step of your
creative process should include every safety precaution possible.
Step 2
You may notice that some Masonite will appear to have two differing sides—one
smoother than the other. We have not observed any notable differences in the
priming of either side.
Choose one side and begin to lightly scuff the surface with the sander. This gentle
scuffing will remove any surface contaminants, minimize irregularities, and make
the support more receptive to primer adhesion. Do not apply too much pressure to
your sanding device as heavy pressure may erode too much of the panel away.
Step 3
Next, make sure that the edges of your support are not swollen from the initial
cutting of the panel. The edges of compact hardboard are known to react this way.
While this swelling may seem insignificant, applied primer will be adversely affect-
ed. The primer will run from the inclined edge as it is applied yielding very thin
coverage. The thin primer will not withstand any later sanding procedures and will
result in a compromised seal of the support and an uneven ground. We can correct
this potential problem by addressing the swell now. This sanding can be done by
hand. Gently sand the edge until there is no sign of an edge incline.
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Step 4
When you are finished sanding, wipe off any sanding debris with a damp paper towel. Any
remaining debris can adversely affect primer adherence. Place some newspaper under the
panel or panels to be primed. Gather your gesso, a small plastic container, and a 2 to 3
inch flat utility brush. To develop a rougher tooth you can experiment with using coarser
priming brushes. Before applying any gesso, make sure that there is no moisture held in the
panel from wiping off excess debris. Moisture will appear as dark patches on the panel. As
the moisture evaporates, the appearance of the panel should become more uniform.
Step 5
Shake the gesso thoroughly and place a small amount into the plastic container.
Apply a liberal amount of gesso across the surface. Establish an initial horizontal
or vertical stroke direction. All subsequent layers will alternate direction to form a
cross-hatch pattern. Be sure to cover the outer edge of the panel with each layer.
Step 6
Our priming process will use 10 layers of gesso. Each layer is applied at roughly 12
hour intervals--one layer in the morning and one in the evening. Due to this length
of time it may be a good idea to do groups of boards at a time.
Allow 24-48 hours after the final gesso layer application before sanding to desired
tooth finish. To sand the primed surface---carefully remove excess newspaper from
the edges by hand as shown. Again, we strongly recommend the use of safety glass-
es, a particulate respirator, and a well-ventilated area for all sanding processes.
Step 7
Gently sand the surface with a sander or sanding block until the desired tooth is
achieved. You can carefully sand the sides to removes excess gesso and any remain-
ing visible newspaper fragments.
In the same manner as our support preparation, you should sand the edges very
gently by hand to minimize the risk to any thinly primed areas.Wipe off any excess
gesso debris with a dry paper towel and that’s it. This surface is ready to go.
It is recommended that you prepare at least 3 16x20” panels for The Language of
Painting exercises. Again, canvas boards are an easy and inexpensive surface to
start with however their ability to be re-used will be very limited.
Notice the difference illustrated before and after sanding. Remember to consider
the manner in which you plan to paint in order to determine which type of surface
finish will be best for you.
before sanding after sanding
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Canvas and Panel Resource List
Canvas
Claessens Artists’ Canvas www.claessenscanvas.com
Fredrix Artist’s Canvas www.fredrixartistcanvas.com
Simon Liu www.simonliuinc.com
Dick Blick Canvas www.dickblick.com
Utrechart Canvas www.utrechtart.com
Panels
New Tradition Art Panels www.newtraditionsartpanels.com
Simon Liu www.simonliuinc.com
Art Boards www.art-boards.com
Ambersand Art Supply www.ampersandart.com
American Wood Painting Panels www.americaneasel.com
224
PALETTE
With our media determined and receiving surface prepared, we can jump into the tools of
delivery. Let’s start with a palette. Palettes come in a wide variety of shapes, materials, and sizes.
As with the choice of surface, this selection should be governed by media and the process. Our
artists have enjoyed varieties of wooden, glass, melamine, and even disposable paper palettes. If
you will be holding your palette, it is important that it feel comfortable and balanced. It should
not cause discomfort to your hand or arm when in use.
A wide range of accessories are also available for various palettes like cups, trays and finger rests
that can augment your work area or increase comfort.
It is also important to consider the clean-up factor when choosing a palette. If your palette is
difficult to clean then you will be less likely to keep it as clean as possible which can ultimately
adversely affect your painting process. The most common palette of choice for our artists is a
9x12” White Melamine Oval. It’s light to hold, a good size for accommodating our conservative
paint use, and cleans up very easily with a palette knife and paper towel. As always, it is best to
experiment to find the size, shape and material that is best for you.
Palette Resources
Dick Blick Art Supply www.dickblick.com
Utrechart Art Supply www.utrechtart.com
Jerry’s Artarama www.jerrysartarama.com
New Wave Art www.newwaveart.com
Turtlewood Palettes www.turtlewoodpalettes.com
225
BRUSHES
With a palette in our salvo we can look to the tool of application---the brush. Just as with
surface and palette, we recomend that you consider media and
process. The brush should deliver your media to your surface effectively and
allow you to manipulate it freely. Using brushes that are not designed for use with a particu-
lar media or painting process may cause the brush to degrade quickly. Since our intent is to
provide you with the most advantageous
materials for use with the Language of Painting, we will make our
recommendations accordingly.
It is important that you familiarize yourself with the basic
anatomy of a paintbrush so that you can make informed
decisions when going beyond our initial recommendations.
We will separate the brush into three component parts—
the handle, ferrule, and hair bundle. The characteristics of
these three components in concert will define the nature
of the brush as to its usefulness with specific media and procedures.
The handle of the brush will determine what types of grip
positions can be used when painting. Longer handles will generally allow a greater range of
motion when applying or manipulating paint. Shorter handles tend to lend themselves to
smaller arenas of focus.
The ferrule holds the hair bundle in a specific configuration. The shape of the ferrule
in conjunction with the cut of the hair bundle will define the brush as a flat, filbert, bright,
round, etc…
The hair bundle holds and manipulates the media. Hair bundles can be made of a variety
of materials that will determine with what media and procedures the brush is applicable to.
The hair of the brush can range in rigidity from the stiff hog’s hair bristle to the delicate
kolinsky sable. Different materials will manipulate the paint in a different ways.While there
are many subtle nuances that may be unique to each brush in your salvo, our approach to
basic brush use follows a simple outline.
Brushes Resource
Rosemary & Co Artists Brushes www.rosemaryandco.
Davinci Brushes www.davinci-defet.com
Escoda Brushes www.escoda.com
Princeton Artist Brushes Co www.princetonbrush.com
Winsor & Newton www.winsornewton.com
Raphaël brushes www.raphael.fr
Silver Brushes www.silverbrush.com
226
Bristles are very stiff and are wonderful for drawing and initial paint
applications. They can shovel up a great deal of paint if necessary; the bristle can echo many of
the dynamics of a pencil.
Synthetic brushes are more flexible than the coarse bristle. They can
effectively be used to maneuver paint that is already applied to a ground. The Synthetic brush
will not move or influence paint as aggressively as a bristle and will therefore leave less evidence
of brushwork. Paint can be
applied with synthetics effectively as well but with a different dynamic from the bristle.
Aggressive brushwork may damage a synthetic as they are not as durable and resilient as the Bristles
stiff bristle.
Sables and synthetic sable blends are the most flexible of the group and tend to maneuver and
influence paints the least. This makes the Sable and synthetic blends ideal for fine blending
and removing brushstrokes from a finished rendering. Understanding how these three groups
influence the media reveals why we use them in the procedural order that we do.
Bristle to apply and maneuver.

Synthetic to maneuver and blend. synthetic
Sable to blend and polish.
You can continue along the process wheel as

shown by returning to the Bristle for scumbles or
other thin paint applications near the endgame of a work in the same
manner that one might use a hard piece of charcoal to lightly shift a value at
the finish of a drawing.
Our recommended minimum starter kit, which is also found is the sables
companion text, consists of the following:
6 filbert bristle brushes ranging from sizes 2 to 6.
6 Synthetic brushes – 3 flats, 3 rounds of General Brush Use Wheel
various sizes.
2 Sable brushes – 1 flat, 1 round.
Bristle
The sizes of the synthetic and sable brushes should range from something
comparable to the #2 bristle up to least something double the size of the #6
bristle.
Synthetic Sable
general brush use wheel

227
GENERAL BRUSH IDENTIFICATION GUIDE
WITH COMMON USES
* Sizes may vary greatly by manufacturer. Recommended sizes seen here are general estimations averaging our
most commonly used brands.
General Brush Use Wheel

228
PAINTS
The chosen media for The Language of Painting is Oil. Oil
paint is a type of slow-drying paint that consists of pigment
particles suspended in a drying oil, commonly linseed oil. It
is an extremely durable form of paint and has been around
for hundreds of years. Due to the drying oil in Oil paint, it
has a much slower drying time than other forms of paint.
While some artists may find this slow-drying property a
nuisance, this characteristic makes it possible for an artist to
work on a painting over several sessions without fear of the
paint drying up too early.
Oil paints are often offered in two grades---student and artist

grade. Student grade Oil paints are usually available in limit-
ed color ranges, occasionally have lower pigment ranges,
contain pigment alternatives for more expensive colors, and are far cheaper than Artist grade paint.
Artist Grade paints offer a wider range of colors, have the greater color strength, and contain a much higher concentration
of pure pigment. These Artist grade advantages are almost always far more expensive than their student grade equivalents.
The brand and grade of paint to use within this program is left up to the individual. While just about any grade or brand
will work fine with our exercises, we encourage you to make sure that you research the quality of any media applied toward
a finished work.
We would also like to take a moment here to once again stress the importance of familiarizing yourself with all of the safety
information relating to your paint and its use. Pay extremely close attention and heed any health warnings printed on or
accompanying your paint. Please refer to the health and safety chart on the following pages.
With a basic understanding of the types of paint available, let’s turn our attention to color choices.
Our common palette contains: One White--Two Yellows--Two Reds—Two Blues—One Green—Two to Three Neutral
earth tones and 1 Black. With this simple salvo on our palette we can generate a fairly large gamut of color. The specific
paints we use for this simple color palette is as follows:
Titanium White
Naples Yellow
Cadmium Yellow Light
Cadmium Red Light
Alizarin Crimson
Ultramarine Blue
Cerulean Blue
Permanent Green Light
Burnt and Raw Umber
Lamp Black.
As we have stated with all other materials thus far, feel free to experiment as much as possible to find the colors that will
work best for you.
229
GENERAL PAINT TUBE ANATOMY (TUBE FRONT)
cap
color name
(often in Multinple
Languages)
While most names are common printed color
to all brands, some manufac- indicator
turer’s may give a certain color
a proprietary name.
pigment number/
product code
This refers to the manufactur-
er’s catalog data or ordering
code.
quality grade
This Grade name often refers
to the overall quality of the
paint, Most paint manufactur-
ers separate grades into two
categories: Artist and
Student Grade.
series indicator
This indicator often denotes
pigment quality and cost.
They can be labeled either by
number or letter. The greater
permanence rating the indicator, the higher quality
Manufacturer’s will often the pigment.
indicate lightfastness, paint firm
stability, and chemical stability
into a rating of permanence.
Raitings systems may include opacity rating
letters, numbers, or symbols. Manufacturers may indicate
paint opacity levels with letters
or symbols. Such markings may
include, but are not limited to,
transparent colors marked with
transparent symbol or T, the
semi-transparent colors are
marked with a semi-transparent
symbol or ST. The relatively
semi-opaque colors are marked
with semi-opaque logo or SO
content weight and the opaque colors are
indicator marked with opaque logo or O.
A required declaration of tube
content weight is given in fluid
ounces (fl.oz.) for the United
States and milliliters (ml.)
for Europe.
230
GENERAL PAINT TUBE ANATOMY (TUBE BACK)
health warnings
Health Warnings vary by country. In the United
States, requirements can vary by state. An ACMI
Approved Product Seal on a paint label certifies
that the paint is non-toxoc to both children and
adults, which means it contains no materials in
sufficient quantities to be toxic or injurious to
humans, including children, or to cause acute or
chronic health problems. ACMI, the Art & Creative
Materials Institute, Inc., is an American non-profit
association of art and craft supplies.
astm conformance indicator

ASTM is an organization which sets worldwide
standards for a variety of products. It is voluntary
compliance, so some paint companies do not use
their standards.
pignment content and vehicle/

binder listing
additional codes and symbols

In addition to the above, some products carry oth-
er coded information to indicate mixing potential,
safety information, and so on. See the manufactur-
er’s catalog for further information.
231
HEALTH AND SAFETY WARNINGS
highly flammable harmful/irritant

Products bearing this interna- This international label is used to
tional label have a flash point of mark products classified as either
below 700 (210 C). The containers harmful or irritant; each classi-
should be kept closed when not fication has its own particular
in use, and should not be left warnings. In both cases, do not
near sources of heat or ignition. breathe the vapor, and keep
Do not breathe the vapor or the product away from children.
spray, and keep the product away Avoid contact with skin and eyes,
from children. and wash thoroughly after use.
health label (hl) cp

This American label, from the An American label, again from
Art and Craft Material Institute the ACMI. “CP” stands for
(ACMI), means that the product Certified Product, in which the
has been reviewed by an inde- contents are non-toxic, even
pendent toxicologist under the if ingested, and which meet or
auspices of the American Society exceed specific quality standards.
for Testing and Materials (ASTM).
ap
Another American label from
ACMI, “AP” means Appoved
Product, one in which the
contents are non-toxic, even if
ingested.
SAFETY WARNINGS
Pigments used in paint may be hazardous to artists if ingested.
Examples include: Flake white, Genuine vermilion, Genuine Naples Yellow, Lead tin Yellow
Cadmium colors, used in most varieties of paint including acrylic and watercolor, are poisonous. Some
paint additives, such as cobalt drier, black oil, Maroger’s medium, and lead napthenate contain substances
which are hazardous.
Adding natural resins to oil paintings may cause skin irritation with direct contact. Inhalation of resin and
rosin dust may cause allergies and even asthma.
It should be emphasized that as with other chemical products, high standards of general hygiene should
be adhered to, both during and after use of these product. Warnings given on individual products should
be adhered to. Prolonged contact with the skin and ingestion (or swallowing) of the product should be
avoided. This includes avoiding practices such as applying color with the fingers or putting brushes in the
mouth.
• Paint in a well-ventilated area.
• Never ingest paint.
• Wear clothing that keeps paint off skin or use paint barriers that keeps paint from absorbing into the
skin. When paint gets on skin, wash off with soap and water, not with solvents.
• Do not clean brushes with solvents.
• Solvents, paints, paper towels and other waste products from a painting session should be disposed of in
a safe and careful manner.
232
COLOR COMPARISON CHART
233
* Bleached by Acids, Acidic atmospheres
description of terms
Color–The common name of the color
Price–Cost per paint tube on a scale from 1 to 5
$–The least expensive
$$$$$–The most expensive
Permanence–The stability of color including how well the pigment stands up to exposure of light, as well as the
stability of the overall color formulation on a scale from 1 to 3.
–The least permanent
–The most permanent
Opacity–the physical structure of paint that determines how much light can pass through
Transparent–can easily see through the paint
Semi–Transparent–can see through the paint
Semi–Opaque–difficult to see through the paint
Opaque–can’t see through the paint
Estimated drying time–Amount of time for the color to be dry to the touch
Fast–Around 2 days
Medium–Around 5 days
Slow–Between 5-12 days
234
PALETTE
Once we have acquired our paint and colors of
choice, we will have to arrange our palette for use.
To do this, we recommend a preparation surface that
can be used to mix paint and can be cleaned quite
easily. The most common preparation surfaces in
our studio are marble, glass, or a melamine coated
surfaces. Palette setup will also require a palette knife
and a few paper towels.
Many people have a habit of squeezing paint tubes
directly on to their palette. While this practice is not
wrong, you may avoid potential problems if an in-
termediate mixing surface is used. On a preparation
surface, paints can be mixed to ensure consistency
before they are applied to the palette.
You will notice here that when the This oil can be reintegrated into the The adjusted paint can then be
paint tube was squeezed, a good paint to manipulate or alter the cleanly applied to the palette
amount of oil that was separated consistency of the paint by as shown.
from the paint mixture was dis- mixing with a palette knife.
charged from the tube.
Be sure to clean the mixing area In an effort to promote the This will stop paint from
of any residual paint thorough- maintaining of clean materials, building up in the cylindrical
ly before applying additional we also suggesting tapping the opening at the top of the tube
colors for preparation. Residual bottom of your paint tube on a and the eventual the buildup of
paint left on the intermediate flat surface after paint has excess paint around the cap.
mixing surface will contami- been discharged.
nate any subsequently
applied paints.
235
MEDIUM
Along with paint, we would also like to introduce the idea of a medium into this material section. An oil painting medium
is an agent that can be used to alter the consistency of the paint, impact drying time, restore sunken or faded values and/
or colors, and maintain the flexibility of the paint film. Some common mediums are Linseed Oils, Waxes, Mineral spirits,
and Alkyd Mediums. Basically, mediums can be any one of a number of thinners, oils, resins, waxes, or diluents. There are
several instances throughout the Language of Painting program in which a medium may be called for. The two most com-
mon mediums that our artists use are Winsor and Newton’s Liquin and Maroger’s Italian Wax medium. Both are readily
available at most art stores or online art resources. But just as with each and every material discussed, experimentation is
encouraged.
Linseed Oil
The introduction of linseed oil was a significant advance in the technology of
oil painting. (The oldest known oil painting dates back to 650 A.D.) Linseed oil
improves flow, enables brush work and increases translucency. Ideal for glazing
techniques, it is the strongest binding vehicle used in
oil painting.The purest form of linseed oil bares the name ‘cold-pressed,’ which
simply means the oil has been pressed directly out of the flax seed without the
use of heat.
Wax Medium
This medium was used by earlier masters such Titian and Tintoretto. Con-
taining beeswax instead of mastic, this medium is perfect for those artists who
prefer a thicker painting consistency, faster drying time and no odor.
Alkyd Medium
This is a thixotropic alkyd medium designed to mix with oil colors, retaining
the body of the paint. Spectragel is a gloss medium and is quick drying. It is a
clear medium based on a synthetic resin that improves the weather resistance
of oil colours; ideal for glazing and extending colors while retaining the gloss
and the structure of paint.
Mineral Spirits
Mineral spirits, also known as white spirits, are an inexpensive and less haz-
ardous alternative to turpentine. Odorless Mineral Spirits are less toxic than
unrefined mineral spirits because most of the harmful kerosene-like solvent has
been removed. Mineral Spirits can be used for thinning oil colors and cleaning
brushes and palettes.
Taken from www.oldmastersmaroger.com

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SEVERAL COMMERCIALLY AVAILABLE MODERN OIL PAINTING MEDIUMS
(Mediums listed in Red are used most often by Ani Art Academies’ artists)
Blockx Amber Painting Solution

Dissolved yellow amber has allowed great works of art to stand the test of time. Blockx Amber Painting Solution imparts
a rare luminosity, adding depth to your paintings. It has a lower concentration of dissolved amber than Blockx Amber
Varnish.
Chroma Archival Oils Mediums
Archival Odorless Mediums and Solvents evaporate more slowly than turpentines, resulting in a minimum of vapor during
painting sessions. They are based on fast-drying alkyd resins, which outperform “traditional” mediums and are healthier to
use.
Daler-Rowney Oil Mediums
Daler-Rowney offers a complete range of mediums and varnishes, which can be used with any of its oil colors.
Dorland’s Wax Medium
Adds translucency to oil paints, making them more brilliant. Also used as a final coat on dry paintings, metal sculpture,
wood carvings, and antiques. May buff to gloss finish. Thins with turpentine.
Eco-House Oil Mediums
Eco-House Inc. is a Canada-based company dedicated to making fine oil painting mediums that meet optimum health,
safety, and environmental standards.
Gamblin Oil Mediums
Gamblin offers a great range of contemporary mediums. Using today’s safer materials, they recreate the properties of tradi-
tional mediums.
Grumbacher Oil Painting Mediums
Grumbacher mediums thicken or thin paints without harming their adhesive, binding, or film-forming qualities, and allow
artists to achieve increased flow and rapid or slow drying. Also proven to guard against yellowing
and cracking.
Holbein Painting Oil for Oil Color
Holbein Painting Oils were created to play a complementary role in oil painting by enhancing specific qualities of oil
paints. Characterized by Holbein as “dissolving oils,” these painting oils can be used with any professional oil colors.
Michael Harding Mediums and Varnishes
Painters have always developed and adopted their own special strategies to create the ideal paint film. Michael Harding, in
collaboration with Pip Seymour, has created a range of oil mediums and varnishes that are specifically intended to work
with Michael Harding Artists Oil Colors.
Old Holland Oil Mediums, Oils and Varnishes
Designed to complement Old Holland’s line of Classic Oil Colors, this selection can be used to finish and protect your
paintings, or to bring back lost elements of older pieces.
Old Masters Maroger - Flemish Maroger
Flemish Maroger is an all-in-one painting medium. Both an oil and varnish medium, it was discovered by Jacques Maroger,
painter and former curator of the Louvre in the early 20th Century. Maroger worked to uncover the secret formulas used
by Old Masters such as Titian, Rubens, Van Dyck, Velasquez, as well as others. Consisting of Black Oil and Mastic Varnish,
this medium comes in the form of a soft jelly, and is used for its great versatility in oil painting.
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Old Masters Maroger - Italian Wax
A variation on the Maroger medium, this medium was used by earlier masters such as Titian and Tintoretto. Containing
beeswax instead of mastic, this medium is perfect for those artists who prefer a thicker painting consistency, faster drying
time and no odor.
Sennelier Oil Mediums
The various oil mediums in the Sennelier line allow artists to change the consistency of their oil paints, to unify elements of
their paintings, and to create transparent, matte, satin, or gloss effects.
Weber Oil Mediums
The oldest and one of the largest manufacturers of art materials in the U.S., Weber offers a variety of mediums for use with
Weber Permalba Oil Colors and other professional-quality oil paints.
Williamsburg Artist Oil Mediums
To support its extensive line of Handmade Oil Colors, Williamsburg offers a complementary line of tradition-based medi-
ums and other essential painting tools.
Winsor & Newton Artists’ Painting Medium
A stand linseed oil/petroleum distillate used to thin the consistency of oils and alkyds. Dries to flexible film with a minimal
tendency to yellow, wrinkle, or crack. Thin with mineral spirits.
Winsor & Newton Liquin Mediums
Durable, non-yellowing medium for thinning oil and alkyd colors, and for speeding drying time. Excellent for glazing and
producing fine detail.
Medium Resource
Old Masters Maroger www.oldmastersmaroger.com
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ADDITIONAL MATERIALS
A few additional materials you should have on hand for completing the
Language of Paintings exercises are as follows:
• Graphite Pencil
• Kneaded eraser
• Paper Towel
• A bar of soap
• Dowel rod or Mahl Stick
• A 12” to 18” ruler
• A spool of thread
• Sandpaper of approximately 600 Grit or smoother
EASEL
We would also like to stress the importance of a working at a comfortable upright easel. Work-
ing on a flat surface is doable, but it does present some problems you should be aware of. For
example, many people have a tendency to support their weight on their arms and hands when
working on a flat surface. This can interfere with your ability to control your pressure effectively
and may end up causing damage to the painting surface due to the heat and moisture from your
hands resting or pressing on the support or ground. Also, we have seen people struggle with
minor distortions from drawing and/or painting flat. To alleviate some of these problems, you
might want to try leaning a support board on which you may mount your painting surface to
create a near 45 degree angle. This angle would give you freedom from supporting your own
body weight when you paint and may eliminate some perspective distortions. Again we would
like to encourage you to keep your easel extremely clean as well. Residual paint left on an easel
may adversely affect the next piece of artwork placed on it.
JOURNAL
One last invaluable tool we would like to mention is the journal. We find that the artist’s journal
can act as a vital mechanism to bring focus to your creative direction. While a great deal of this
training program centers on building technical skills, we believe that the artists’ true potential
is realized by an equal emphasis on the development of creative concepts. From jotting down
simple ideas, to quick sketches, studies, or notes, the contents of the journal are completely up to
the individual. It is often these very pages that slowly reveal a personal visual vocabulary which
will eventually define a unique voice.
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BRUSHES/PALETTE MAINTENANCE
Before moving forward we would like to take a minute and share some ideas regarding
brush and palette maintenance.We do not use any chemicals or agents for cleanup other
than soap and water. Our brushes are cleaned in a very simple manner.
Residual paint is wiped off with a paper towel by wiping away from the ferrule. Gentle
brush wiping is continued until little to no paint is seen on the paper towel. The brushes are
then gently washed with soap and water and any bristle brushes are then tied in position.
In lukewarm water, brushes’ hair bundles are gently rotated onto a bar of soap until all
remaining evidence of residual paint disappears. Take care to not press hard when washing
against the soap as some soap remnants may become lodged in the ferrule causing damage.
Rinse any remaining soap from the hair bundle.
Synthetics and Sable brushes can be gently shaped by hand and then placed upright in a
minimal dust environment to dry. Bristles can be tied into position so that they maintain
their shape. This is done by wetting a length of string and then wrapping it around the
ferrule and hair bundle. This string should never be wrapped too tightly as it may cause the
tip of the brush to flare defeating the purpose of brush tying altogether. To achieve a deli-
cate wrap---hold one end of the wet string on the ferrule with your finger while you care-
fully rotate the brush. This will help to ensure you do not wrap the brush too tightly. Once
wrapped, you can gently mold the shape of the brush and store upright to dry in a minimal
dust environment. This practice of careful maintenance will greatly increase the lifespan of
your materials.
Palette cleanup is kept pretty simple for us as well. Our palettes are
carefully scraped with a palette knife and then wiped clean with paper towels. Old or dried
paint is discarded and new paint applied when necessary. The palette should always appear
clean and organized. Just like the mixing table, unmanaged paint residue left on a palette
will only succeed in contaminating newly applied color.
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FIRST MARKS
“ I find that 98% of all students new to painting struggle needlessly because they have far too much paint on their brush...”
–Anthony Waichulis
ORIGIN DESTINATION LINE EXERCISE

Goal: Introduction to dot, line and their confident use.
Materials: Two to three 16x20” exercise panels; one to two filbert bristle brushes sizes 4 or 6. Paints colors: black, white,
and an optional medium. Paper towels.
In the same manner as our Language of Drawing series, this program begins with the intro-
duction of a few very basic marks. These initial, simple strokes will become the first pieces of
a vast visual vocabulary.
One of the first questions we hear from an apprentice preparing to make their first marks at
the easel is “How should I hold the brush?”. The obvious answer is in whichever way offers
you the greatest amount of control for the task at hand. Understand that the manner in
which you grip the brush will have an effect on your range of motion with that tool.
Generally, if you hold the brush on or near the ferrule, as most people tend to grip a pencil
when writing, you may have the tendency to use a more narrow range of motion. Holding
the brush in a more relaxed manner, further from the ferrule and hair bundle, may promote
a wider, broader range of motion. While both approaches will serve a useful purpose, under-
stand that large sweeping strokes may be more fluid with a wide range--while shorter strokes
may fare better from narrow.
A quick note on early brushstrokes: There are many types of brushstrokes that are viable
means of media delivery or application. In an effort to develop control, we find that it is
often most effective to begin with a simple ‘gliding brushstroke’ dynamic. A good number of
painters find themselves stabbing at a painting surface in the earliest phases of their devel-
opment. Early habits involving short, staccato jabs at the surface will often contribute to a
noticeable deficit in future application dynamics.
Our primary brush stroke should glide on to—and off of—the surface. This can be envi-
sioned as a airplane gently landing and taking off. This application stroke can occur within
a wide range of angles, directions, and lengths as long as this basic dynamic is intact. Stip-
pling, scrubbing, and other forms of application are extremely viable and will be utilized
later on.
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As with every painting endeavor or exercise, we will first make sure our painting sur-
face is clean and free of any imperfections. Any surface damage or contaminants can
cause a wide array of problems as we move forward.
Draw a conservative amount of black from the palette. Begin to make a few marks
on the surface that vary in pressure. The value, or relative lightness or darkness of the
marks, should reflect your pressure in the same manner that a pencil would. If you ap-
ply more pressure you should find a darker mark and vice versa. If this value-pressure
dynamic is not present, you may have too much or too little paint on the brush.
You will notice that with this ideal amount of paint you can apply either a light stroke
or a heavy scrub and the results will reflect the pressure.
When you notice this pressure-value paint dynamic fading, reload the brush with an-
other palette draw. If too much paint is drawn, you will immediately notice that light
pressure yields a dark mark and heavy pressure yield a ‘blobbed’ or broken stroke. An
ideal draw of paint will allow you to exercise the same type of pressure dynamics you
would find in your average dry media drawing tool.
If we add a very conservative amount of medium to the next palette draw, the dynam-
ic of the paint will change a bit. It may seem a bit more fluid and the pressure-value
dynamic and opacity may be shifted. Carefully observe as much about the behavior of
these materials as possible.
The first two marks that we explored in the Language of Drawing were the dot and
the line.
We defined the dot as a tiny round mark that represents a point in space while the
line was described as a continuous mark that moves along a fixed direction.
directions:
Step 1 general application load chart
red–not enough or too much paint on
To begin the Origin Destination line exercise: Establish a group of dots that will act as the brush.
‘starts’ and ‘finishes’ for each line. Configure the dots randomly so that the distances yellow–is the ideal amount of paint
for pressure
between the origins and destinations are varied.
Step 2
With your dots in place, visualize the line you intend to make. Sometimes it is very
helpful to even take a few practice strokes when visualizing---much like a golfer
would in preparation for a swing. When you feel most confident, connect with the
painting surface and execute the line.
It is also important to understand that confident, straight lines are often achieved by
drawing ‘through’ your end target or destination. Slowing down to stop at a finish
point can cause the line to swell or stagger. Make an effort to glide off of the surface as
you arrive at--or cross through--your destination. This will promote a strong, consis-
tent line from start to finish.
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Experiment with different paint loads and paint/medium combinations to find the consistency that works best for your line work.
Be sure to use the lightest pressure you possibly can to establish these early lines. Early line work is often applied lightly in the
painting process if it is intended to be absorbed by later value and color applications.
This exercise is not to be limited to line work in any one direction. Be sure to execute lines in multiple directions as shown here.
The more versatility you have in creating confident lines, the more freedom you will enjoy throughout your painting process.
Remember that while you are experimenting with differing paint loads and medium combinations you should maintain the dy-
namic relationship of pressure and value.
ASSIGNMENT
Continue to perform the Origin Destination exercise until at least 2-3 panels are filled. Maximize
your space to get as much practice as possible. Each exercise panel should be at least 16x20”. You can
wipe off each panel after completing an exercise to re-use it. Simply remove as much paint as possible
with a paper towel or palette knife. Some mediums can be used to thin and remove paint but this
practice may alter the surface for later applications. We encourage you to experiment with different
surfaces as your adaptation experience will enhance your versatility and ultimately increase your
overall freedom within the painting process.
ORIGIN DESTINATION LINE EXERCISE EXAMPLES
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SHAPE REPLICATION EXERCISE
Goal: Use confident line to develop accurate shape.
Materials: Two to three 16x20” exercise panels; one to two filbert bristle brushes sizes 4 or 6. Paints colors: black, white,
and an optional medium. Paper towels, ruler, pencil, kneaded eraser, dividers, Shape Replication Models.
NOTE: All of the Shape Replication Model Sheets can be found in Visual Language Core Part I.
So far we have covered two of the most basic marks to be made---the dot
and the line. We can now configure the lines into a new visual element-
-shape. The addition of shape to our growing visual language adds a
wealth of possibility to what we can communicate.
The shape is an area that is defined by line. The language of drawing
explored this visual element with The Shape Replication exercise.
Mount the model sheets onto your painting surface as close to your pre-
determined painting area as possible. You can use a piece of low-tack
tape or low pressure clip to carefully mount the model sheet. Make sure
that your manner of mounting does not adversely affect your painting
surface.
The Shape Replication models are printed on a clear surface so that they
can be used as an overlay with which to check your results. If applicable,
make sure to have your instructor check your alignment of the model
sheet to your drawing area.
directions:
Step 1
Begin by using your pencil and ruler to establish the 2”x2” squares so that they align with the
shape model boundary boxes as seen in the examples shown. Keep all of your pencil line work
extremely light so that it has minimal effect on the later painted line. Our line work is illustrated
in a “darker-than-ideal” manner for the purpose of clarity. If possible, have your instructor
check your established boundary boxes before proceeding with the Shape Replication exercise.
Step 2
With your 2x2” square boxes established, cover the boundary box with a painted line. Following
these pre-established, straight pencil lines will help prepare you to execute the inner shape
configurations that you must visualize. Proceed to then replicate the line configurations--or
‘shapes’--that you observe as accurately as possible.
As with the Origin-Line destination exercise, visualize the line before your brush connects with
the surface. Continue to end each stroke by gliding off the surface instead of slowing and/or
abruptly stopping. This dynamic will help to maintain strong line and paint consistency.
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Step 3
When you are finished, lift your clear Shape model sheet from its position and gently place it
over your painted shapes. You should be able to realize inconsistencies immediately. Repeat this
process until the shapes are replicated accurately.
As you progress with the series of Shape models, they will become increasingly complex. You
may choose to make use of a measuring device like the dividers represented in the material
box. You can measure where certain shapes intersect with the boundary box and indicate it
accordingly as a reference point in pencil OR paint.
The last few Shape models are not housed by the square boundary box. This removal of a static reference
shape will force you to adapt and seek out an alternative source for relative measurement. The dividers may
prove very useful here.
Another aspect worth noting is that the later models in the series incorporate curved lines. Early Shape
models consist of strictly angular lines and rectilinear shapes, but now we are faced with curved lines and
curvilinear shapes. While it is not wrong to attempt to apply curving lines at this juncture, it may be more
effective to begin with angular representations of the curved contours.
ASSIGNMENT
Continue with the Shape Replication exercise by copying the entire series included in the companion binder. Repeat the
exercise until the shapes are replicated accurately. Gently remove any residual paint from the model sheet with a paper towel
after checking your results. Follow your instructor’s guidance in regards to repeating any shape models that he or she feels is
beneficial to your development. You may increase the challenge of this particular exercise by grouping model sheets together
OR sizing up your replications while maintaining accurate proportion. Be sure to ask your instructor for more information
on increasing the challenge in this manner.
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SHAPE REPLICATION EXERCISE EXAMPLES
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PRESSURE SCALES
PRESSURE SCALES I - BLACK AND WHITE
Goal: Understanding the concept of value and pressure and their confident use.
Materials: 16x20” exercise panel, 1 to 2 filbert bristle brushes: size 4 or 6. Rounds, flats, or brights may be used if
PS Model Sheet 1
prefered. Paints colors: black, white, and an optional medium. Paper towels, ruler, pencil, kneaded eraser, dividers.
Pressure Scale reference sheet.
In the same manner as the popular Ani Art Academies Language of Drawing, The
Language of Painting systematically introduces basic marks and concepts in an effort
to efficiently establish the foundation for a vast visual vocabulary. At this point in both
series, we have connected simple dots with confident lines and configured a variety of
lines to into a wide array of shapes.
It is at this stage of development that The Language of Drawing introduced our next
visual element ---value. By grouping certain linear strokes together we could form
areas of relative lights or darks known as values. These values were shown to be
controlled by the proximity of these strokes to each other, the pressure on the material
applying the strokes, or any combination of the two.
One of the most valuable and challenging exercise within Language of Drawing used
to explore this new visual element was the Pressure Scale exercise. The goal of this
exercise was to develop control of, and sensitivity to, your drawing tools by performing
seamless gradations of value in one continuous motion.
The Language of Painting continues this echo of the Language of Drawing by offering
a new take on this popular exercise. With this new challenge, we will explore the
PS Model Sheet 1 element of value and continue to expand your developing painting dynamic.
The Painted Pressure Scale will require the mixing of one paint with another and
as such will present the opportunity for you to experiment with synthetic brushes
or sables. The sizes of these brushes should be comparable to the bristles brushes
previously mentioned. Reference sheets can be placed on or as close to your pre-
determined painting area as possible. You can use a piece of low-tack tape or low
PS Model Sheet 1
pressure clip to carefully mount the model sheet if necessary. Make sure that your
manner of mounting does not adversely affect your painting surface.
directions:
Step 1
Begin by using your pencil and ruler to establish a 5” high x 2” wide rectangle. This
rectangle will house the painted pressure scale. The scale itself is based roughly on
a 5 step value scale. Remember that this scale can be found on your reference sheet.
Again, the painted pressure scale echoes the Language of Drawing’s Pressure Scale
exercise in that it is to be executed as a seamless evolution of values as opposed to
individual steps of value. Using black and white paint, a small salvo of brushes, pres-
sure control, and strategic anticipatory tapers, one should be able to produce an even
evolution of values or a “gradation”.
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Step 2
With a clean Bristle brush and a conservative paint load, begin to lay in your darkest value at
the top of the Painted Pressure Scale housing rectangle. You will notice that a continuous stroke
or gentle scrubbing motion quickly distributes the paint across the top of the scale. Take care
to maintain the shape of the scale by observing the rectangle’s boundaries. A very small bit of
medium is added here to help increase the flow of this initial paint application.
Step 3
A key element for a successful merge of light and dark in this manner is anticipatory tapers. Our
dark values are often extended beyond their observed range and tapered in anticipation of the
white to be added. These tapered applications of dark will mix with soon-to-be-added white t
give rise to a basic gradation.
In this approach, slower, more gradual gradations will have a longer tapering of early shadow
values, while faster rate of change gradations may start shorter... and remember, a crucial
component for tapered application is indeed pressure control.
Using very light pressure, taper the dark to an approximate midpoint. The ideal length of the
tapers will be determined by the individual as they become more familiar with their own
application sensitivity and painting dynamics.
Step 4
With your initial dark application and taper established you can begin to add white. Grab a new
bristle brush. Starting at the bottom, or opposite end of the scale, establish your lightest region.
As you climb up from the bottom towards the dark taper you will notice the dark values mixing
with the applied white.
Begin to taper the white as you climb higher into the dark taper. You will notice that longer
upstrokes will expand the area of paint that is mixing together. Use a ‘stroke length and pres-
sure combination’ to carefully build a gradation of white into the dark. Understand that it is
fine to make a great deal of mistakes here. Strokes that are too long, pressures that are too light
or too heavy, etc… are all aspects of a painting dynamic that are best experienced rather than
explained.
It is important to be aware that the brush will pick up quite a bit of the paint or value relative
to the area in which it was last used. From time to time it is extremely advantageous to wipe
off your paintbrush to either continue blending, mixing, OR before you draw more clean paint
from the palette. Imagine your brushes as shoes that will track the evidence of wherever you
just were. Be mindful of this as you may alleviate much unwanted paint contamination in your
painting process.
Just as with our Drawing process, varied stroke direction helps to promote the development of
even gradations. Since we mentioned wiping off your brushes, let’s take a second to understand
how to do this while minimizing the risk of damaging or contaminating the brush. Place the
dirty brush into the paper towel and gently wipe away from the ferrule. Do not pull too aggres-
sively on the hair bundle or you may risk dislodging hairs from the ferrule. Do not scrub into
the paper towel or you may find many of the fibers from the towel in your brush--and ultimate-
ly--your paint. With each wipe from the brush you should see the decreasing traces of paint on
the paper towel. Repeat this motion until there is no evidence of paint.
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Step 5
Continue to develop the white into the previously established dark values. Notice the variations in
pressure and stroke direction in the example shown. As the scale develops, continuously scan for
broken steps or skips in the scale’s gradation. Correct as necessary. You may also return to your
dark brush to help model, clean, edit or reinforce the darker range of the gradation as seen here.
When you feel that the gradation is as even as possible with the bristle brush---proceed to use your
synthetic brush to further ‘clean’ the gradation. The synthetic brush will not move the paint as
aggressively as the bristle and is ideal for subtle changes and refining efforts. Keep your synthetic
brush clean by wiping often. Again, remember not to be too aggressive with the paper towel
or you may cause damage to the brush. Continue to develop the scale until the target gradation
range, rate of change, and surface finish is achieved.
BLACK AND WHITE PRESSURE SCALE RECAP:
• Apply initial black with a bristle brush.
• Taper the initial application in anticipation of the light.
• Starting at the opposite end of the scale, apply your white with another bristle to taper.
• Revisit the darks if necessary to develop the target gradation.
• With the gradation as even as possible with the bristle, move to a synthetic to refine the
surface and generate more subtle shifts in value.
ASSIGNMENT
Continue to perform the Pressure Scale exercise until at least one 16x20” exercise panel is consistently filled. You should have
a minimum of 14 scales per panel. Maximize your space to get as much practice as possible. Your instructor can guide you on
how to make to most of your panel’s work area.
Invert the second row of scales but continue to initiate each scale with black. Refer to the Pressure Scale reference sheet for
guidance on the scale’s value range and rate of change.
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PRESSURE SCALES II – COLOR
Goal: Understanding the concept of value and pressure and their confident use.
PS Model Sheet 2
Materials: 16x20” exercise panel, 1 to 2 filbert bristle brushes: size 4 or 6. Rounds, flats, or brights may be used if
prefered. Paints colors: Cadmium Yellow Light, Cadmium Red Light, Ultramarine Blue and an optional medium. Paper
towels, ruler, pencil, kneaded eraser, dividers. Pressure Scale reference sheet.
The second phase of the painted Pressure scale exercise involves an expansion of our
palette. To our existing array of paint we will add a red, a yellow, and a blue. Our
specific colors of choice for this are:
Cadmium Yellow Light
Cadmium Red Light
And Ultramarine Blue
You can add a few more brushes to your salvo if you have them. It is ideal to have an
extra bristle or two for the employ of color within this phase of the painted pressure
scale exercise. It is not a requirement to have brushes for each color for this exercise,
but you will need to take a few extra steps to ensure that brushes containing paint will
not adversely affect other colors used.
With your materials ready, establish two rows of 5” high x 2” wide rectangles. Just as
with the last phase of the pressure scales, each row should consist of a minimum of
7 scales. In this phase, we will employ one of the three colors added to our palette to
generate a series of red, yellow, blue monochromatic pressure scales.
We will substitute a color for white in the top row of scales to yield a scale graduation
from black to the chosen color. The bottom row, which again echoes the inverted row
from the first scale phase, will now remove black in favor of the chosen color. This will
yield a graduation from white to the chosen color.
Once again, the target pressure scale is roughly based on a 5 step scale. You may refer
to the Pressure Scale reference sheet for guidance of the scale’s approximate range and
rate of change. The application procedure for generating the scale is identical to phase
one of the Painted Pressure Scale.
Carefully observe the reactions of each color as it interacts with the black and the
white. Take special notice of the changes in consistency (if any) from color to color.
Create one full panel of scales with red – one with blue – and one with yellow.
For those with a very limited number of available brushes – clean any used brushes
thoroughly with soap and water and allow for them to dry before switching from one
color panel to the next.
Continue to perform this phase of the painted Pressure Scale exercise until at least three 16x20”
exercise panels are consistently filled. Each panel should consist of 14 monochromatic Painted
Pressure Scales. You should fit at least 7 scales in each row. The first row should grade black to color
while the second should run white to color. Maintain a consistency in value range, rate of change,
and surface finish. Repeat the exercise as necessary until all scales are consistent. Maximize your
space to get as much practice as possible. Your instructor can guide you on how to make to most
of your panel’s work area. Panels may be re-used after each exercise. Simply remove as much paint
as possible with a paper towel or palette knife and re-use. Some mediums can be used to thin and
remove paint but this practice may alter the surface for later applications. Refer to the Pressure
Scale reference sheet for guidance on the scale’s value range and rate of change.
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PRESSURE SCALES EXERCISE EXAMPLES
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BASIC COLOR I
Up to this point we have explored and /or reviewed several basic visual
elements that will help develop a solid foundation for a Language of
Painting. With a strong focus on the dynamics of paint application, we
have connected simple dots with confident lines, configured lines into a
wide array of shapes, and applied contrasting pigments in concert with
varied pressures to yield seamless gradations of value. However, the
previous chapter incorporated a new element that many find to be one
of the most powerful tools for the creative endeavor-- color.
The Painted Pressure Scale chapter, had us grow our palette from the
sparse black and white that we have started with to include three col-
ors: Red, Yellow and Blue. It is our hope that your experience generated
a good number of questions from this inaugural color use. With this chapter we will take some first steps towards answering those
questions. We will also revisit some of the color concepts you may already hold and introduce you to some of the more advanced
methods for identifying, using and understanding this brilliant aspect of the artist’s salvo.
On any initial investigation into color we are faced with a robust vocabulary of terms and concepts that may leave us somewhat
confused. Like the many other aspects of our curriculum, we make a strong effort to simplify all of this. We will endeavor to make
use of what you may have learned in the past and offer options for you to integrate color in the manner you wish into your creative
process efficiently and effectively.
The world of color is seemingly quite vast. There have been many brilliant individuals that have studied the phenomena over the
centuries in an effort to understand how we experience color. Many different systems of organizing the visible spectrum of colors
have unlocked much about the phenomena. These systems of organization, or models, have ranged from the extremely simple,
to what may appear to some, to be infinitely complex. However, amidst all of the systems of color organization to date, one of the
simplest diagrams most familiar to the vast majority is the Color Wheel. This two dimensional arrangement of colors has long been
the introductory tool of anyone seeking an understanding of basic color. In essence, a Color Wheel is an abstract illustrative orga-
nization of color hues around a circle that intends to reveal relationships between different colors and/or groups of colors. To begin
to explore what this system of color organization has to offer we should first establish a few basic terms that will help us effectively
navigate our journey. First, let’s establish a definition and basic understanding of Color.
Color is the visual experience that arises from our biology interacting with the
spectral composition of the light (electromagnetic radiation) that is emitted, trans-
mitted, or reflected by the environment. While it may sound counterintuitive, color
is not a physical property of the environment, but is rather our response to a par-
ticular form of energy in the environment. So what does this mean? For example,
what is actually happening when we visually encounter something that we might
understand or describe as “blue?”
Putting aside scenarios in which the object may be an actual source of light or
a structural configuration that is bending light, it is likely that the surface of the
object is absorbing all of the available wavelengths of the visible spectrum except
for some that are relatively short. Now the standard human observer has a specific
photoreceptor cells within the eye that are “tuned” for just such wavelengths. The
activity of these cells initiate a cascade of neural activity in the brain that ultimately
leads to a perceptual response–in our case here–the experience of “blue.”
252
COLOR
So as you might already be starting to suspect, in this example the object in the environment is NOT physically blue, the wave-
lengths reflected off the surface of the object is not physically blue, nor do the cells referenced above “sense” blue. Blue is not a sensa-
tion–rather, it is a perception. We assign “blue” to a particular sensation that is itself a reflexive response to an exposure to a certain
wavelength of visible light.
Whew! Ok, with that said—we can describe our experience of color with far more specificity by breaking it down into three attri-
butes or ‘dimensions’: Hue, Value and Chroma. By understanding these attributes, we can understand more about the nature of
color, identify colors more accurately, and communicate the phenomenon far more effectively.
which
blue is
blue ?
“Blue” can mean many

different things to different people.
253
COLOR
Color is a very powerful tool in the hands of the artist. Understanding how the “parts” of each color work together to create what
we see allows us to manupulate color more successfully. For example, if you want to mix a specific color you can do so much more
effectively by knowing which color components need to be altered: Is the color too light? – we can target the value. Is it too dull? We
can change the chroma. Perhaps it is too red or too blue – then we can look to alter the hue. We can then look to some of the color
mechanisms we covered (complementary, analogous, tints, etc...) to determine how best to go about the changes.
Let’s take a look at these color defining attributes:
The hue is a specific visible wavelength of the electromagnetic spectrum. While each hue
has a very specific wavelength, the names of hues are used in a very general manner. Hues are
Red, Orange, Yellow, Green, Blue, etc… In order to more accurately identify or communicate
colors beyond these general names, we will have to incorporate additional attributes—
Value and Chroma.
value, as we have defined previously, is relative lightness or darkness. With the attribute of
value added to hue, we can now take another step towards being more specific describing or
communicating color. Instead of ‘red’, we can now say something as general as ‘light red’ or
‘dark red’, and while still very subjective, it moves us one step closer to being more specific.
The color swatch shown has remained the same hue (blue) while only its value is
being altered.
254
chroma is the perceived intensity of a specific color. It is the manner in which the color
appears to differ from a gray of the same value. Associated terms like ‘Saturation’ or ‘Intensity’
may be used to sometimes refer to Chroma in an extremely general way.
In the example shown we can see the difference between the two swatches that share the same
hue and value, but differ in Chroma. When we remove all of the Chroma from both examples
we can more easily see that they are the same value.
This allows us to introduce another term that you may hear throughout the program:
achromatic. This term is used to define something that is without color or what many
understand as strictly black and white.
As we raise the Chroma equally in both swatches we can now more easily see that they are
both of the same Hue, Value, and Chroma.
The swatches are of one color, or monochromatic. This is another term we may see or
hear frequently throughout our discussions regarding color.
Understand that with these three dimensions of color you can be as descriptive as you like. If
we ask several people to imagine the color ‘green’, they may envision vastly different colors.
If we add value and alter our description to include ‘dark’ as in ‘dark green’, the colors
imagined will most likely grow more similar. Now, if we make a reference to Chroma in that
statement by saying, a dull, dark green—the colors imagined will grow even more similar.
However, somewhat vague references to degrees of Hue, Value and Chroma in this manner
are still quite subjective and can lead to many inaccuracies and misunderstandings. You
can incorporate far more accurate color models like the Munsell color system. The Munsell
system is a color space model that also specifies colors based on three color dimensions: Hue,
Value, and Chroma---however, Munsell’s system is based on rigorous color experimentation,
granting it a firm scientific basis. Due to its accurate scientific nature, Munsell’s system has
outlasted its contemporary color models. Every perceivable color can be described with
specific notations of Hue, Value and Chroma to provide a much more invested understanding
of color.
A few additional terms can be more easily understood by returning
to our initial Color Wheel model.
Analogous colors are groups of colors that are adjacent to each

other on the color wheel.
Complementary colors are pairs of colors that are of “opposite”

hue in some color model. In theory, two colors are called comple-
mentary if, when mixed in the proper proportion, they produce a
neutral color (grey or black).
analogous complementary
Let’s look a little closer at this familiar wheel, which is actually
known as the RYB model Color Wheel. It is based on a model
developed by Johannes Itten, a Swiss expressionist painter, designer,
teacher, writer and theorist. This particular wheel contains not only
an outer circle of hues, but an inner hexagon that helps to explain
some of the color relationships. The RYB model contains a histor-
ical set of primary colors. It is a model primarily used in art and
art education, particularly painting. This particular model predates
modern scientific color theory.
255
Looking to this RYB model, we can see the three primary
colors revealed: Red, Yellow, and Blue. These three colors
are equidistant from each other on the wheel. However there are
many colors that are equidistant from each other on this particu-
lar wheel. What makes these three unique in some way?
What makes the Primary colors in this model unique is that

they cannot be made in any practical manner from mixing other
colors. Instead, the Primary colors are the source components of
other colors.
Using the Primary Red, Yellow, and Blue found in this model we will be able to mix the gamut of additional colors that are found
within this model’s wheel.
As we view the full color wheel model we can see that the center triangle within the central hexagon contains all three primary
colors. Each point of the central triangle points to one of the primaries on the outer color circle.
Looking back to the pressure scale exercise you can now understand why we chose Red, Yellow, and Blue as the first colors with
which to populate the palette.
But how do we get to the other colors from the Primaries? –By combining different Primaries together.
If we combine two primaries from this model we will reveal a second tier of colors that are known as secondary colors. The
Secondary colors that are created from mixtures of Primary colors and are: green, orange, and purple. Initially, you may notice
that these Secondary colors are slightly more ‘dull’ than the Primaries. They seem to have a little less Chroma than the higher tier
Primaries.
It is important to understand that every time you mix any two colors together you will experience a drop in Chroma. The severity
of the drop in Chroma will depend on the colors that are combined. In addition, the more colors that are mixed together, the great-
er the decrease in intensity observed.
Mixing Red and Yellow will yield Orange.

Combining Red and Blue will create Purple.
And the combination of Yellow and Blue–Green.
secondary-orange secondary-purple secondary-green
Returning to the entire Color Wheel we can see that the outer section of the inner hexagon is populated with the three Secondary
Colors of this RYB model. Along the base of each outer hexagon Secondary triangles are the two component Primaries that
generate it. As with the inner Primary triangle, the points of the outer Secondary triangles point to the Secondary colors along the
outer circle.
The next tier is yielded from the combination of one Secondary and one Primary color. This combination
will reveal a group of colors known as intermediates.
This group of 6 Intermediate colors consists of Yellow-Orange, Red-Orange, Red-Purple, Blue-Purple,

Blue-Green, and Yellow-Green. The names of each color reveal the Intermediate’s combined components.
The intermediates can be located on this model between each outer point of the inner Hexagon within the
outer Color circle.
intermediates
256
COLOR
What lies beyond these colors as understood via the RYB color model? A series of increasingly
neutralized (lower Chroma) colors referred to as tertiaries, quaternaries, and neutrals.
We can see lower Chroma Tertiaries swatches being formed by combining two Secondary colors.
Beyond this will be a series of increasing lower Chroma colors that approach a family of greys.
Mixing Complimentary or ‘opposite’ colors from this model will allow you to approach low
Chroma colors and neutrals very quickly as shown.
SO TO RECAP:
Hue is a specific area of the color spectrum that we classify as red, green, blue, etc. The 12
general “colors” that we have organized around our basic color wheel can be referred to as hues.
Value is lightness or darkness. We have mixed colors with black or white in past exercises to
alter the value of the color (tints and shades). You can also change the value of any color by
mixing it with any other color of a different value.
The Chroma is how pure or intense the color is. If the Chroma is low then the color will appear
more gray. If the chroma is high the color will appear very intense (less gray). Do not confuse
chroma with value as you can make a color more gray without making it darker or lighter. We
will experiment with that later. You can affect the chroma of any color by mixing it with any
other color. In almost every case the Chroma of a color will lower when the color is mixed with
another.
Remember that this model and manner of looking at color is an extremely simplified way to
explore basic color. It is the manner in which color is most often understood. While this RYB
model predates modern day color science, there are some extremely robust models, or systems
of organization, for defining extremely accurate color. We strongly encourage you to research the
potential of these color systems to see how they can contribute to your understanding of color and
the impact it can offer to your work.
257
ALTERNATIVE COLOR SYSTEMS
The Munsell color system

Take your mastery of color to the next level with Albert Munsell's simple and scientific
approach.
Historical
Historical color
color models
models made
made At the beginning of the 20th century, painter and color scientist Albert
describing and
describing and understanding
understanding Munsell decided to tackle what he saw as two significant problems
color
color difÞcult
difÞcult with the way artists conceptualized, used and described color: the
vagueness and imprecision of color descriptions ("bright red", "cool
green", etc), and the inaccurate modeling of color space via the
traditional flat color wheel. He created a 3-dimensional model that
accurately represents color space in nature, and also provides a simple
notation system for accurately describing any visible color.
Hue, Value and Chroma

A
A simpler
simpler and
and more
more accurate
accurate Every visible color has three attributes, simply defined as:
model for
model for color:
color: hue,
hue, value
value and
and
Hue: the "name" of the color, such as red, blue, yellow, green, etc.
chroma
chroma
Value: the lightness or darkness of the color
Chroma: the intensity of the color
258
There are more precise scientific definitions of these terms, of course,
There are suffice
but these more precise scientific definitions
for an introduction. of these
Every color can terms, of course,
be precisely
but these suffice
described for an introduction.
as a combination Everyattributes.
of these three color can be precisely
described as a combination of these three attributes.
A visual depiction of the Munsell
A visual
color depiction
space of Wikimedia
(source: the Munsell
color space (source: Wikimedia
Commons)
Commons)
Furthermore, the three attributes of hue, value and chroma can be used
Furthermore,
to map every colorthe three
into attributes of hue, value
the 3-dimensional colorand chroma
space shown can be used
above.
to mapisevery
Value shown color intovertical
on the the 3-dimensional
axis (black on color
the space
bottom, shown
graysabove.
in the
Value
middle,is white
shownon ontop);
the vertical
chromaaxis (black
extends on the from
outward bottom,thegrays in the
grayscale (or
middle,
"neutral") white
core;on top);
and huechroma extends
is the color's outward
position onfrom the grayscale
the outer ring. (or
"neutral") core; and hue is the color's position on the outer ring.
A uniform color space One of Munsell's great achievements was creating a color space model
A uniform color space One
and aofcolor
Munsell's great achievements
atlas where steps in every was creating
direction areathecolor
samespace
size,model
so
and a color
colors can beatlas where
related to steps in every
each other by direction are the
hue, by value same
or by size, so
chroma
colors can be related to each other by hue, by value or by chroma
independently.
independently.
He also created a base-10 system for naming colors, using five primary
He
huesalso
(red,created
yellow,a base-10 system
green, blue andfor naming
purple) andcolors, using fiveor
five secondary, primary
hues (red, yellow,
intermediate, huesgreen, blue and
(yellow-red, purple) andblue-green,
green-yellow, five secondary, or
purple-blue,
intermediate,
and red-purple), hues
and(yellow-red,
subdividing green-yellow,
each hue intoblue-green, purple-blue,
10 steps. Value also
and
goesred-purple),
from 0 (pureand subdividing
black) to 10 (pure each hue into
white), and10 steps. starts
chroma Value atalso
0 for
goes from
gray or 0 (pure
neutral, andblack) to 10as
increases (pure white),
it moves andfrom
away chroma starts atcore.
the neutral 0 for
gray
Thereorisneutral, and increases
no theoretical as it to
outer limit moves awaybut
chroma, from the neutral
it depends core.
on the
There is no theoretical outer limit to chroma,
pigments available for paint and other materials. but it depends on the
pigments available for paint and other materials.
259
Representation of samples from
the Munsell Book of Color (data:
Munsell Renotation Data from
Rochester Institute of
Technology; image by Steve
Linberg)
Naming colors
Rather than color names like "dark red" or "cool green", a Munsell
color name describes its hue, value and chroma, in that order. This is
an example of the breakdown of the color "10R 7/6," which is a slightly
orange red of light value and medium chroma:
!
!
!
10R 7/6: a sample Munsell color
!
!
!
While a color name like "dark red" is open to interpretation - indeed,
it's extremely unlikely that any two people would imagine the same
exact color from a description like that - a color name like "10R 7/6" is
both precise and descriptive. “10R” is the hue, meaning a red which
leans toward orange rather than purple; 7 is the value, which is two
steps above middle gray; 6 is the chroma, which is relatively strong in
nature.
(As it happens, 10R 7/6 is a color similar to the ruddy areas of

caucasian skin, such as knuckles and flushed cheeks.)
260
Why use Munsell?
Using Munsell
Using the Munsell system for color offers some advantages over other
color models and vocabularies:
1. Colors can be specified simply and accurately.
2. Colors can be communicated with no misunderstandings.
3. Colors can be measured and reproduced with confidence.
4. Color comprehension can be greatly enhanced by understanding

and controlling the separate attributes of hue, value and chroma.
The Munsell system is sometimes misunderstood to be a painting

method; it is not. It is a color ordering and notation system that is
designed to be simple, clear, and accurate, and to be used by artists,
though it is also used in the sciences and engineering.
The Munsell Color company, a division of the X-Rite Corporation,

manufactures Munsell products such as the Munsell Book of Color, an
atlas of color chips, spectrophotometers for measuring color, and
related materials for teaching, learning and using Munsell. Visit the
Munsell Color company website at:
http://munsell.com
To learn more
Visit The Classical Lab to learn more about using the Munsell color
system in painting and the fine arts.
http://classicallab.com
Steve Linberg 
CTO 
The Classical Lab, LLC 
steve@classicallab.com
261
HUE VALUE CHROMA
teacher example
262
HUE VALUE CHROMA
ONE ANALOGOUS HUE
ONE LOWER VALUE OF THE SAME HUE

COLOR WHEEL HUES
Y YO O RO R RV V BV B BG G YG
ONE HIGHER VALUE OF THE SAME HUE
LOW CHROMA OF THE SAME HUE (USE Black, White,

or COMPLEMENTARY TO MIX)
COMPLEMENTARY HUE
complete the chart
263
COLOR
analogous colors complementary colors

3-5 Neighbor Colors on opposites on
the Color Wheel the Color Wheel
shades = color + black
WARM COLORS COOL COLORS
tints = color + white
PRIMARY COLORS SECONDARY COLORS

RED * YELLOW * BLUE GREEN * ORANGE * PURPLE
tones = color + value
INTERMEDIATE COLORS
RED ORANGE * RED PURPLE
BLUE PURPLE * BLUE GREEN
YELLOW GREEN * YELLOW ORANGE
264
BASIC COLOR II – COLOR CHART
Goal: Observe the effects of mixing each color with every neighboring color that surrounds it.
Materials: One 16x20” exercise panel as well as a minimum of 2 filbert bristle brushes: sizes 4 or 6. Rounds, flats, or
brights may be used if you prefer. Basic Palette Color Chart reference sheet. Paper towels, palette knife, ruler, pencil,
kneaded eraser, low-tack tape.
In an effort to further explore the vast world of color we will expand our palette to include two
different pigments for each primary color as well as a few optional additions. As mentioned in
our materials chapter, our common palette contains: One White--Two Yellows--Two Reds—
Two Blues—One Green—Two to Three Neutral earth tones and 1 Black. With this simple salvo
on our palette we can generate a fairly large gamut of color.
The specific paints we use for this simple color palette are as follows:
Titanium White—Naples Yellow—Cadmium Yellow Light—Cadmium Red Light—Alizarin
Crimson—Ultramarine Blue—Cerulean Blue—Permanent Green Light—Burnt and Raw
Umber—Lamp Black.
To become more familiar with the potential of our palette, our program incorporates a Basic
Palette Color Chart exercise. By executing this chart we can observe the effects of mixing each
color on our palette with every neighboring color that surrounds it. The result is a valuable,
personalized resource that you can keep for future reference.
In this instance, the more application brushes at your disposal the better. You can complete this
entire chart exercise with only one brush--however you will have to be extremely careful to clean
the brush thoroughly between each application of color. Color contamination will adversely
affect the results of this chart. However, washing a single brush after each color application
would add unnecessary wear to your brush and greatly increase the amount of time required to
complete to the exercise. Therefore, for those with a very limited salvo of brushes, it would be acceptable to use a paper towel and
an extremely conservative amount of medium to remove any unwanted color from a brush. We cannot stress enough that you
should use the least amount of medium possible for this purpose. Any excess of medium in the hair bundle or ferrule will thin
subsequently added paint and could therefore make opaque applications difficult.
You may also use any synthetic brushes or sables throughout this Basic Chart exercise. The sizes of these brushes should be
comparable to the bristles brushes previously mentioned.
A Palette knife is also required for mixing the various arrays of colors on your palette. Mixing with your brush is doable, but it will
often force a great excess of paint into the hair bundle and ferrule. We advise that you to use the palette knife as it can draw more
accurate measurements of paint from your paint piles. With a knife you can more easily judge paint amounts for the Color Chart’s
required mixing dynamic. The same drafting tools used in previous exercises are also required for laying out the Basic Color Chart’s
grid.
Low-tack tape can be used to mask off squares if your available brush sizes or shapes make application extremely difficult. Make
sure that any tape or masking agent used will not adversely affect your painting surface. Do not to place any adhesive material on
paint that is not thoroughly dry as it may damage paint film upon removal.
265
COLOR CHART
To begin, establish an extremely light graphite or charcoal grid of 1”x1” squares on Ax2 Bx2 Cx2 Dx2 Ex2 Fx2 Gx2 Hx2 Ix2 Jx2 Kx2
a prepared surface. There should be just as many rows and columns as there are A A+Ax2 A+Bx2
colors on your palette. The grid shown on the Basic Palette reference sheet displays B B+Ax2 B+Bx2 B+Cx2
a grid based on our 11 color palette. Assign a letter or number to each horizontal C
row and vertical column as shown. D D+Cx2
The mixing dynamic for this chart is approximately ONE part ROW to TWO parts F
COLUMN. For example, the second square across in row A will be 1 part A and 2 G
parts B. Several formulas are peppered throughout the included grid to help clarify H H+Gx2
this pattern (figure 1). I
Take your time and mix each color as accurately to the above dynamic as possible. K
Again, a palette knife can make judging amounts a bit easier and protect brushes
from unintentional overloading and contamination.
Ax2 Bx2 Cx2 Dx2 Ex2 Fx2 Gx2 Hx2 Ix2 Jx2 Kx2
Observe how certain colors react throughout the exercise and record your
observations. This finished chart, along with your own notes and records from A A+Ax2 A+Bx2
B
the experience can be an extremely valuable resource for your future painting
B+Ax2 B+Bx2 B+Cx2
C
endeavors.
D D+Cx2
E
Your pure palette colors should run diagonally across the grid as shown (figure
F
2). Just as with the Pressure Scale exercise, make every effort to be mindful of the
G
boundaries of each grid square. Carefully applied brush strokes will promote a
H H+Gx2
cleaner result and more easily manageable exercise.
I
J
Throughout the chart exercise, you may notice that some colors are quite thin–and
K
as such, may be difficult to apply in a smooth and opaque manner. These colors
may require a second (or even third) layer to achieve the desired finish and level of
opacity.
You may want to use a small detail brush or liner to more cleanly define color block
edges. Feel free to experiment with any synthetic or sable brushes in an effort to
achieve a uniform finish to the chart.
Again, mix and apply each color as carefully as possible. Remember that some
colors may be thin on their first application and may require a second or third layer
to achieve the desired opacity.
It is advisable to record your observations while creating this Basic Palette Color
Chart. We also recommend that you save your completed chart for future reference.
266
COLOR CHART
267
BASIC PALETTE COLOR CHART
Ax2 Bx2 Cx2 Dx2 Ex2 Fx2 Gx2 Hx2 Ix2 Jx2 Kx2
A A+Ax2 A+Bx2
B B+Ax2 B+Bx2 B+Cx2
D D+Cx2
H H+Gx2
instructions
Establish a light graphite or charcoal grid of 1 x 1 inch squares on a prepared surface. There should be just
as many rows and columns as there are colors on your palette. The above grid is based on our basic 11 color
palette hence the above grid shows 11 rows and columns. Assign a letter or number to each row and column
so that you may easily locate any given square. The mixing dynamic for this chart is 1 part row (horizontal)
to 2 parts column (vertical). Therefore the second square in a row A will be 1 part A and 2 parts B (A+Bx2).
Several formulas were added to the above chart to clarify this pattern. Within this pattern, your straight pal-
ette will run diagonally across the grid. Take your time and mix each color as accurately as possible. Observe
how certain colors react with other colors and record your observations. This basic chart along with your
own clear records can greatly assist you in subsequent painting endeavors.
268
COLOR CHART EXAMPLES
269
GRADATIONS
Our visual vocabulary continues grow as we move forward with dots, lines, shapes, values and now rudimentary color in tow. We
will now endeavor to bring all of these elements together with a series of controlled interactions known as Gradation Blocks.
Everything we see around us is defined by light. As light interacts with an object it reveals a collection of visual elements that allow
us to perceive its three-dimensional quality. This quality, as defined by light, is known as form. Our ability to understand the basics
of how light reveals the world around us will allow us to capture believable representations of anything we choose.
Even at the earliest stages of our painting endeavors, our artists are considering how the many shapes, values and colors observed
interact with each other. How do these elements relate to one another? How are the values and colors they observe changing
in space? Are there slow and gradual transitions within these elements? --or fast and abrupt jumps? A simple analysis of these
observed elements can effectively reveal just how we can capture the forms that they define. It’s all in what you are looking for....
Let’s take a look at how different gradation ranges and rates of value and color
can describe different aspects of form....
In the Trompe L’oeil painting titled “Paradise” by Anthony Waichulis, we

see a varied array of value and color gradations describing a wide range of
forms. Let’s take a look at the value/color evolution at the bottom of one of
the subjects. Notice the somewhat abrupt transition in both color and value
and consider what these transitions communicate. We understand this as the
bottom of the subject meeting with the surface that it is resting on.
Compare this to the gradual shift from light to dark on the subject to the right.
This specific transition communicates a slow, turning form. It is a far less
abrupt change between contrasting values and colors is thus communicated
accordingly. The manner in which these color and value transitions were
recorded successfully describes the multitude of forms that define each subject
throughout the work...
In the painting “Pears” by Timothy Jahn we can again observe an array of

descriptive transitions. We can immediately notice the quick transition at
the pear’s contour. In this short distance we can observe a fast jump in both
value and color--a fast rate of change. In contrast, we can find a gradual,
slower rate of change successfully describing the form of the subject to the
right. Though careful observation and analysis we can understand how
different value and color transitions may describe any visual aspect of our
world and allow us to effectively communicate it.
270
GRADATIONS
GRADATION BLOCK 1
Materials: full basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 4, 6 or 8. Any synthetic
or sable brushes. Rounds, flats, or brights may be used if you prefer. Medium of choice, palette knife, paper towels, ruler,
pencil, kneaded eraser. Gradation Block model sheets.
1
4
In preparation for the entire series of Gradation Block exercises you

will be required to have your full basic palette. This would consist
of one White--two Yellows--two Reds—two Blues—one optional
Green—and Two to Three Neutral earth tones and 1 Black. You may
also include your optional medium of choice. However, you should
be aware that the first series of Gradation Blocks are strictly black and
white. Therefore, you may want to consider starting with just black and
white and then populate the palette with additional colors as needed.
Just as with the Basic Palette Color Chart, you are welcome to expand
your number of application brushes if possible. Once again, if your
brush count is low, take care to remove as much color as possible
from an active brush before switching color. Color contamination will
adversely affect the results of this exercise.
Directions:
Step 1
Mount the model sheets onto your painting surface as close to your 3
pre-determined painting area as possible. You can use a piece of low- 2
tac tape or low pressure clip to carefully mount the model sheet. Make
sure that your manner of mounting does not adversely affect your
painting surface. Do not place any adhesive material on paint that is
not thoroughly dry as it may damage paint film upon removal.
It is highly recommended to complete the gradation blocks in the order

in which they are arranged. Notice that some numbers on the model
sheets are inverted. This is so that the sheets may be turned in an effort
to keep your source model sheet and target destination block as close as
possible.
Step 2
Next, establish a 4x4” graphite or charcoal square that will house
the gradation. Keeping the gradation within a predetermined shape
prepares you for the way we will carefully add value and color to later
line drawings. Now take a minute to study the ‘value/color range and
rate of change’ of your chosen Gradation Block model. How light or
dark are the values within the model? Is it a fast or slow transition
from light to dark? How light or dark will the values of the gradation
block be? Considering these questions at the start will move you one
step closer to confident execution of the exercise. You may establish any
reference lines that may indicate a major
value or color shift if deemed necessary.
GRADATIONS
Step 3
With a clean Bristle brush and a conservative paint load, begin to lay in your initial dark
values or colors in the appropriate section of the Gradation Block’s housing square. We will
almost always begin with our dark range as it will reflect the basic procedure we will use for
our main painting procedure.
As recommended previously, vary your brushstrokes to promote an even application. Take

care to maintain the shape of the scale by observing the rectangle’s boundaries.
Step 4
Using light pressure, taper the dark towards the area where light will be later applied.
Remember to extend the initial taper beyond the observed reference range in anticipation of
the white to be subsequently added.
The experiences of the Pressure Scale exercise should offer you some guidance as to the ideal
length of application tapers.
Step 5
With your initial dark application and taper established you can begin to add your light.
With a new bristle brush, establish your lightest region in the appropriate target area of the
Gradation Block’s housing square.
Just as with the initial dark application, taper the white as you approach the dark. You will
notice that longer upstrokes will expand the area of paint that is mixing together. Use a
‘stroke length and pressure combination’ to carefully build a gradation of white into the
dark.
Just as with the Painted Pressure Scales---it is again appropriate to make a great deal of
mistakes here. Strokes that are too long, pressures that are too light or too heavy, etc… are all
aspects of a painting dynamic that are best experienced rather than explained.
272
Step 6
Remember that it is important to be aware that the brush will pick up quite a bit of
the paint or value relative to the area in which it was last used. From time to time it is
extremely advantageous to wipe off your paintbrush to either continue blending, mixing,
OR before you draw more clean paint from the palette. Be mindful of the paper towel icon
on the workscreen. It is illuminated each time a brush is wiped off.
Continue to develop the white into the previously established dark values. Notice the
variations in pressure and stroke direction in the example shown.
As with the Pressure Scale exercise, you may return to your dark brush to help model,
clean, edit or reinforce the darker range of the gradation as seen here.
Step 7
When you feel that the gradation is as even as possible with the bristle brush---
proceed to use your synthetic brush to further ‘clean’ the gradation. The synthetic
brush will not move the paint as aggressively as the bristle and is ideal for subtle
changes and refining efforts. Keep your synthetic brush clean by wiping often.
Again, remember not to be too aggressive with the paper towel or you may cause
damage to the brush.
Continue to develop the scale until the target gradation range, rate of change, and
surface finish is achieved.
GRADATIONS
GRADATION BLOCK 2
Materials: The same as for the Gradation Block 1.
In this example, we see a more abrupt transition from light to dark. Watch as the application
tapers will reflect this to replicate the gradation on the target surface.
Directions:
The application procedure remains the same.
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GRADATIONS
GRADATION BLOCK 3
Goal: Understand how value gradations define form. 8
Materials: The same as for the Gradation Block 1 and 2. 5
The color Gradation Blocks are handled in the same manner as the previous
achromatic ones. However, we recommend taking a moment to analyze the
Gradation Block source reference.
Reference your Basic Palette Color Chart to find guidance on how best to achieve the
color seen on the model sheet.
Upon studying the block shown we can see that it is a combination of the gradations
of both rows of the red Painted Pressure Scale exercise. We can see a transition of
black to red and then red to white.
Our strategy therefore would be to apply the key components in their respective
areas and taper each in the appropriate direction. We will start as we have been with
the dark and slowly develop toward the light.
The initial dark taper in this example is augmented with a slight bit of red so that the
pure red application and taper is more efficiently absorbed into the dark. While this
is not necessary, it sometimes helps to smooth initial transitions.
Notice how often certain brushes are wiped off throughout the gradation
development. A small amount of white is added to the red taper to more smoothly
engage the soon to be added white.
Again, you can see how this gradation block is an amalgam of the earlier Pressure
Scale exercise.
Take time to analyze each Gradation Block prior to starting. Sometimes you will
need 2,3 or more colors to match the transitions observed.
Reference your Color Chart to help develop a strategy before starting. Continue to
copy the full series of Gradation Block models included in your Companion binder.
Be patient and make every effort to make each gradation as ‘clean’ as possible.
Consider your approach to each block prior to start. You may increase the
7
challenge of this particular exercise by increasing the size of the Gradation Block
9
while maintaining the value range and rate of change seen within the appropriate
Gradation Block model.
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GRADATION BLOCKS EXERCISE EXAMPLES
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4
3
2
8
5
7 9
11
10
12
9
GRADATIONS PATTERNS
As we prepare to continue with the next section of The Ani Art Academies’ Core Training program, let’s take a moment to review
many of the concepts and skill building exercises we have explored thus far.
After a thorough introduction to the dynamics of paint application, we defined and explored some of the most basic marks from
our visual vocabulary: the Dot and the Line. These marks and their confident use were explored though a challenging exercise
known as the Origin-Destination Exercise.
With the dot and line in tow, we then moved into a practice of grouping various lines together to give rise to a new visual element:
Shape. Shape Replication exercises began to train our eye to see more analytically. We began to consider size, distance, and
measurement--all while learning to wield the brush.
Continued variation on the orientation of line led us to a new and challenging visual element to explore: Value. Creating areas of
light and dark via pressure controlled applications could now offer a new invaluable tool that would bring us far closer to capturing
the world we perceive. Our ability to control value was tested and developed with an extremely demanding series of exercises
known as Pressure Scales. It was at this point in our training program that we took the first few steps towards a new variable: Color.
Our Basic Color introduced a very simple framework of introductory organizational concepts and saw the building of a basic
palette. The Basic Palette Color Chart then explored our palette’s gamut of color possibilities and produces a valuable reference for
use throughout the program and beyond.
With color and value added to our salvo, a challenging series of gradations exercises put our developing paint control and basic
color comprehension to the test. The Gradation Block series foreshadowed the merging of shape, value and color to yield a
powerful element: Form.
The next step in The Ani Art Academies’ Language of Painting program builds upon the challenge of the Gradation Block exercise
by combining it with the earlier challenges of Shape Replication. As experienced in the Language of Drawing, The Gradation
Pattern exercise challenges the artist to replicate a collection of interlocking shapes populated with varying gradations to yield
patterns of form.
The Language of Painting takes this exercise one step further by incorporating color. This new variable will take your developing
skill sets far beyond the achromatic challenges faced in the Language of Drawing.
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GRADATION PATTERNS 1
pencil, kneaded eraser, Gradation Patterns model sheets.
Directions:
Step 1 1
Mount the model sheets onto your painting surface as close to your pre-determined
painting area as possible. You can use a piece of low-tac tape or low pressure clip to
carefully mount the model sheet. Make sure that your manner of mounting does not
adversely affect your painting surface. Do not place any adhesive material on paint that is
not thoroughly dry as it may damage paint film upon removal.
It is highly recommended to complete the Gradation Patterns in the order in which they 2
are arranged. Notice that some numbers on the model sheets are inverted. This is so
that the sheets may be turned in an effort to keep your source model sheet and target
destination block as close as possible. If your brush count is low, take care to remove as
much color as possible from an active brush before switching color. Color contamination
will adversely affect the results of this exercise.
Step 2
To begin, establish a 5x4” graphite or charcoal square that will house
the Gradation Pattern. Take a minute to study the shapes and value/color ranges and rates
of change’ of your Gradation Pattern model.
You may establish any shape or gradation boundary lines deemed necessary. Keep these
initial lines as light as absolutely possible.
Step 3
With a clean Bristle brush and a conservative paint load, begin to lay in your initial values
or colors in the appropriate section of the Gradation Pattern’s housing rectangle. We will
almost always begin with our dark range as it continues to reflect our standard drawing
and painting process.
Brushstrokes can be varied to promote an even application. While we have started with
the basic ‘airplane’ brushstroke dynamic, you will notice that some scrubbing will be used
to spread out paint more efficiently from time to time. Do not be afraid to experiment
with different brushstrokes in an effort to better manipulate the paint. Take care to
maintain the accurate shapes of the Pattern model.
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GRADATION PATTERNS
Step 4
Using light pressure, taper the dark to towards the area where light will be later applied.
Remember to extend the initial taper beyond the observed reference range in anticipation of the
light to be subsequently added.
The experiences of the earlier Pressure Scale and Gradation Block exercises should offer you
some guidance as to the ideal length of application tapers.
Step 5
With your initial dark application and taper established you can begin to add your light. With a
new bristle brush, establish your lightest region in the appropriate target area of the Gradation
Pattern’s housing rectangle. Just as with the initial dark application, taper the light as you
approach the dark.
Remember that longer strokes will expand the area of paint that is mixing together. Use a stroke
length and pressure combination to carefully develop the desired gradation.
As we have mentioned in previous exercises---it is appropriate to make a great deal of mistakes
here. Strokes that are too long, pressures that are too light or too heavy, etc… are all aspects of a
painting dynamic that are best experienced rather than explained.
Remember that it is important to be aware that the brush will pick up quite a bit of paint from
the area in which it was last used. From time to time it is extremely advantageous to wipe off
your paintbrush to either continue blending, mixing, OR before you draw more clean paint
from the palette.
Be mindful of the paper towel icon on the workscreen. It is illuminated each time a brush is
wiped off. Be sure to wipe the brush in the direction that moves away from the ferrule. The
more debris that is lodged in the brush--the more contaminants that will wind up on your
painting surface.
Step 6
Continue to develop the light into the previously established dark values. Notice the variations
in pressure and stroke direction in the example shown. As with the Pressure Scale exercise, you
may return to your dark range brushes to help model, clean, edit or reinforce the darker range
of the gradations as seen here.
Step 7
When you feel that the gradation is as even as possible with the bristle brush---proceed to use
your synthetic brush to further ‘clean’ the gradation. The synthetic brush will not move the
paint as aggressively as the bristle and is ideal for subtle changes and refining efforts. Keep your
synthetic brush clean by wiping often. Again, remember not to be too aggressive with the paper
towel or you may cause damage to the brush.
Continue to develop the Gradation Pattern until the target shapes, gradation ranges, rates of
change, and surface finish is achieved.
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pencil, kneaded eraser, Gradation Patterns model sheets.
The color Gradation Patterns are handled in the same manner as the previous achromatic
ones. However, we recommend taking a moment to analyze the Gradation Pattern model
reference carefully. Reference your Basic Palette Color Chart to develop a color mixing and
application strategy.
Our overall strategy remains the same regardless of the incorporation of color: apply the key
component anchors in their respective areas and taper each in the appropriate direction. We
will start as we have been with the dark and slowly develop toward the light.
It may be advisable to add a few more brushes to your available salvo as the use of color will
require additional brushes to minimize color contamination. Even with additional brushes, be
sure to wipe excess paint from brushes as often as necessary. Notice how often certain brushes
are wiped off throughout the color Gradation Pattern evolution.
Here we see the artist use a Mahl stick as an edge guide. This practice will help to ensure very
straight and sharp lines when necessary.
Just as with the Red Gradation Block from DVD 4, the artist here adds more color to the
initial dark taper to help ease the reception of the subsequent light to be added. Take notice
of how the Chroma of the red color is lowered as it nears the shadow region of the Gradation
Pattern’s red spherical form. You will often find that Chroma levels will alter as does the value
of a form. Chroma will generally raise as it nears light and lower as it nears shadow.
It is important to understand that white will almost always lower the Chroma of a color as
well. Therefore, it is important to consider this effect before adding white in an effort to
lighten color.
3
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pencil, kneaded eraser, Gradation Patterns model sheets. 4
As you continue to utilize more color with each exercise, you may begin to notice some
obvious differences between paints. The characteristics of the paint can be as varied as
the colors themselves. From opacity, to pigment strength, to drying time, the unique
characteristics of each paint should be considered when formulating an approach or
strategy for your process. Let’s look at a few of the characteristics that you may have
encountered up to this point.
There are several colors that you may have noticed do not seem to yield a consistent opaque
film in the first layer regardless of how much you
apply. This factor was first mentioned during our Basic Palette Color
Chart exercise.
Occasionally an artist may tend to add another color to a thinner paint to build some body
to it. While this can definitely increase opacity, the actual mixture can adversely affect the
Hue, Value, and Chroma of the color you are trying to develop.
Thin colors can be developed into an opaque film if you are patient. Subsequent layers
added to already dry applications can easily increase opacity (figure 1). Be aware that there
will still be changes to the properties of the color as you move from the appearance of the
3
initial transparent application BUT you will maintain the Chroma of the color applied.
Some artists will add an analogous, more opaque color to a thin one for initial applications
and will then add one of more subsequent layers of the
pure thin color over the initial application when dry. This may work in many circumstances
to yield the desired opacity while maintaining a high
Chroma finish.
First layer mixtures can also be beneficial in an effort to coordinate your drying times. You
may have noticed that some colors take far longer than others to begin to cure, or dry. Some
colors like Alizarin Crimson and Ultramarine blue may still be wet to the touch for days
while some Umbers may seem dry in just a few short hours. Some artists have been known
to combine some paints to normalize drying times, but again, you must understand the
impact to the properties of the color itself and anticipate accordingly. These are all factors to
be considered at the onset of an endeavor.
One very peculiar behavior of oil paint that you may have noticed is the change in
appearance that seems to take place when a paint film is curing (figure 2). The paint may
appear to lighten significantly, resulting in a chalky surface--or become blotchy with some
areas appearing more matte than others. This is often far more evident in darker colors and
may already be quite evident in your Basic Palette Color Chart. This effect is due to the oil
in the paint being drawn in to the absorbent surface that you are
painting on.
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GRADATION PATTERNS
This effect is almost always eradicated when the painting is varnished so do not be alarmed if a
drying painting begins to appear this way. However, when sinking occurs on a painting that is still
in progress, certain steps have to be taken to ensure it does not interfere with your process.
Let’s look again at the color Gradation Pattern exercise we have been working on. Evidence of the
oil sinking is quite evident (figure 3). Some areas of the red spherical form ended up drying faster
than anticipated while the Gradation Pattern was developing so a few areas were left a bit spottier
then desired. If brushwork would have resumed in the curing area we would have seen more
paint being pulled off then added. This removal of curing films would have destroyed much of the
gradations we were aiming to establish. If you notice this happening when painting, stop working
on the drying area and wait for the layer to completely dry before continuing.
To remedy an already dry inconsistent paint surface due to erroneous paint removal or to prep a
dry inconveniently toothed area for another paint layer you can carefully sand the paint surface to
a desired smoothness.
Make every effort to use only very high grit sandpaper to avoid scratching the previous paint layer.
If you only have access to sandpaper under 800 grit, you can rub two pieces of sandpaper together
to minimize some of the abrasive material.
To sand the surface, first verify that the surface is completely dry to the touch. Next, with
extremely light pressure and a gentle circular motion, begin to sand the target area. If the area
seems to pull or be pliable in any way immediately stop as the paint film is not yet dry. Wait
another 24 to 48 hours before any reattempt to sand.
If you notice the paint film becoming scratched you should stop and acquire less abrasive
sandpaper. If the paint is thoroughly dry it should smooth out evenly. Smooth the area down to a
desired finish and then gently wipe with a clean low lint or lint-free paper towel.
More often than not, no sanding is required. However, in order to make second layer corrections
or augments to this Gradation Pattern we will have to address the influence of the sunken paint.
The sinking in alters color and value in such a way that subsequent decisions based on what is
currently observable would lead to a great deal of consistency issues. We will need to restore the
appearance of the paint before we can make decisions based on accurate information.
The process of restoring sunken paint to its original appearance is known as ‘oiling out’. This
process consists of applying an activating material like drying oil or a particular painting medium
to a sunken paint film in an effort to restore its original appearance. While there are several
different approaches to oiling out a painting, we will look to a very conservative or economical
approach.
Just as with the sanding process, make sure that the area that is to be reworked is completely dry.
You will see here that we first gently test the area to be worked with a light colored synthetic brush
to see if there is any evidence of wet color (figure 4). If there are no signs of wet paint we check to
see if it the paint film is dry to the touch. Our main area of focus is the transition of midtones into
shadow on the red spherical form (figure 5) . With a synthetic brush and light touch, we add an
extremely conservative amount of painting medium to the target area along with the immediate
surrounding areas to ensure we are making accurate value and color relationship judgments
moving forward.
Add just enough medium to see the original appearance of the paint return. Do not add any more
material than is absolutely necessary in an effort to be as conservative as possible. With the paint-
ing surface prepped, we can begin to add conservative amounts of paint where needed. Since the
midtones-to-shadow gradation of the red spherical form is our focus, we will start there with our
typical process of dark taper to light.
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GRADATION PATTERNS
You will notice that second layers of paint and beyond tend to be easier to control as the medium allows the paint to flow smoother
while not impeding coverage as it would in a first layer. We can also see a few other key points augmented and tidied up like the
specular highlight on the red spherical form.
The second layer concludes as does the first--with the achieving of the desired finish. Know that as this new second layer dries it
may again show signs of sinking. Unless you need to rework an area of the painting, this ‘sinking-in’ is fine and should be complete-
ly eradicated when the painting is varnished. We will explore the topic of varnishing later on. You can set aside one or two of your
Gradation Pattern exercises for use with the section on varnishing. You can also eventually varnish the Basic Palette Color Chart
when we explore the topic of varnish.
2 1 3
2 4 4 5 1 6
6 5
ASSIGNMENT
Continue to copy the full series of Gradation Pattern models included in your Companion binder.
Be patient and make every effort to make sure each shape is as accurate and each gradation is as ‘clean’ as possible.
Consider your approach to each Pattern model prior to start.
You may increase the challenge of this particular exercise by increasing the size of the Gradation Pattern while
maintaining shape proportion, color and value ranges and rates of change. Be sure to ask your instructor for more
information on increasing the challenge in this manner.
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GRADATION PATTERNS EXERCISE EXAMPLES
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3
4
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6
THE SPHERE
THE SPHERE – PHASE I
Goal: Explore, through analysis and repetition, the manner in which light describes spherical forms.
pencil, kneaded eraser, Sphere
When we first mentioned the Form Box, we described it as a collection of several basic geomet-
ric solids. Let’s take a look at these basic solids, or forms, and explore how light reveals them
to us. Beginning in the upper left, this first block houses a perfectly round geometrical object
known as a sphere
(figure 1).
Housed in the block to the right of the sphere is the cone. This form tapers smoothly from a
flat, usually circular base to a point, or apex.
Found in the lower right of this particular Form Box configuration, another curvilinear geo-
metric solid, the cylinder, is defined by a circular curved surface joining two circular bases.
The form located not only in the lower left, but also housing both the sphere and cone is the
cube. This form is bounded by six square faces, facets, or sides.
Remove the sphere from the Form Box so we can study it on its own.
The color of your sphere does not matter. We are only looking to the manner in which light
describes the form.
Place the sphere inside your Shadow Box, or other drawing subject surface, and illuminate it
from the top left with a primary light source as we did with the Form Box exercise (figure 2).
Slowly and carefully move the light from its position and see how the sphere reacts. Notice how
the play of values describe this form to us.
Return your primary light source to the top, left, front so that your sphere is illuminated as
shown. This primary light source orientation is a standard position by which we will explore
the nature of the basic forms. Maintaining a series of standard variables will allow us to focus
more on the unique nature of each form.
In an effort to understand how the values we observe on this form are created, we will start
with the element that is creating these values in the first place---the light. If we separated, or
bisected, the sphere along the direction of the light we would get two identical halves. Let’s
refer to this light direction separation as axis line A. Placing an opposing, perpendicular axis,
B, to A would create an “X” grid to help chart out how some of these values take shape, and
ultimately reveal this form to us.
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THE SPHERE
To ensure that our “X” grid is accurate, lines A and B should be oriented at a 90 degree angle
(figure 3).
If we added two additional lines parallel to B, equidistant from both B and the point at which A
pierces the outer circle, we can divide the sphere into 4 sections perpendicular to the direction
of light. This grid reveals a light to dark ratio of 3:1 that we will maintain as another standard to
study the basic forms
(figure 4).
We see that the shadow shape does not follow the straight boundary line of our quadrants
completely. Rather, it follows the surface of the form itself (figure 5). If we create a line from
the 2 points where line B pierces the outer circle and where the shadow quadrant meets line
A we can see the curved light and shadow separation. Incidentally, the point at which the first
light quadrant boundary intersects with line A appears to be the brightest point on the sphere
in this particular lighting scenario.
While all of this may sound a little complicated, this analysis allows us to build a model of set
variables by which to further understand the manner in which light defines the form. We will
transfer these variables into a sphere schematic for repetition-based exercises. This will allow
us to develop the skill-sets needed to replicate these three dimensional forms at will.
So, instead of getting more complicated---let’s make things a little simpler. For now we will
simplify the sphere’s value structure to focus on the main light dark separation similar to the
Gradation Block exercise.
Let’s paint a version of the sphere with just this main light and dark separation, based on what
we observed and the general parameters explored with the X grid.
Directions:
Step 1
Begin with an initial angular depiction of a circle around 2 to 3 inches in diameter. You can
faintly indicate the primary light source direction, A and the opposing axis B, to plot out the
location of the values that will describe the sphere if you wish. However, you do not need to
plot out any elements of the X-grid if you can simply visualize them. Remember to keep any
schematic marks extremely light so they have as little influence on any subsequently added
paint. As with the other Gradation exercises and the Form Box, indicate the main light dark
separation. Remember that it is not a straight line, rather it follows the form of the Sphere,
curving from the locations at which line B pierced the circle, down to the shadow quadrant
boundary line.
Step 2
With this layout, or schematic, of our simplified sphere, we will add value as we have in our
other Gradation-based exercises. As to our value range and rate of change, we will set the
exercise parameters for a full value range-bright white to rich black-and a somewhat short
main transition around the indicated central light/dark separation line. A gradation rate
equivalent to Gradation Block models 2 or 3 is acceptable.
that same exercise altered to accommodate a circular template.
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THE SPHERE
Step 3
Again, as our main transition will be relatively short, it may only require a short initial taper of
dark.Begin to add your white in the area that we had identified as the brightest when viewing
the sphere in this orientation. This will serve as a main light anchor similar to other value
anchors you may have set in earlier exercises.
As always, vary your stroke direction to ensure an even transition.
Step 4
We are not overly concerned about maintaining a very pristine edge or outline at this point.
In fact, we prefer to keep all our edges soft in the beginning while still maintaining a general
accuracy to the overall shape. In an effort to maintain the freedom to add surrounding values
or alter shape, we slightly ‘taper’ most edges. Always keep in mind that it is usually easier to
sharpen an edge later than it is to soften one.
This simplified version of a sphere, based on a given set of parameters will make up the first
phase of our Sphere Build repetition exercises. Your goal here will be to accurately replicate this
configuration of shape and value consistently.
ASSIGNMENT
Continue to perform this segment of the Sphere Build exercise until at least 1 full 16x20” panel is consistently filled. Do
not move on to the next section until each sphere is consistently executed.
Keep each sphere consistent in size, value range, rate of change and surface finish. Confident and consistent execution is
key here to develop strong, valuable skill sets. Maximize your space to get as much practice as possible. Your instructor
can guide you on how to make to most of your canvas or panel’s work area.
292
Goal: Introduction of color to the sphere, to further explore, through analysis and repetition, the manner in which light
describes spherical forms.
Materials: full basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 4 and 6. Any synthetic
pencil, kneaded eraser, Sphere.
With a good familiarity for our basic sphere schematic we return to the sphere
model to address the influence of color. At this point, many if not all will have
painted their sphere model for the previous color Form Box exercise. Regardless
of the color that was chosen for your sphere model, you will notice that all of the
principles introduced in the previous section still hold.
Our focus in this section will be to ensure that an addition of color into our sphere
build exercise will contribute to the form and not hinder it. To do this, we will
make sure that our gradations not only evolve in value—but in Chroma as well.
Our goal here is to execute a gradation of pure color to black within the circular
template introduced in the previous section. The area of the sphere where we
initiated our pure white will now consist of pure color. This area of pure color,
or high Chroma, will become less brilliant–or lower in Chroma–as it follows the
darkening values approaching the shadow section of the sphere. The shadow
section should remain black, however you may utilize umbers or other colors
to help augment a challenging transition–like certain yellows, where a resulting
green may emerge as the color nears black. A reddish neutral like burnt umber or
even something stronger may help to eradicate some of the influence undesired
green. Some of these color issues were faced in the earlier Gradation Block Model
exercises.
Additionally, for this exercise it is acceptable to add a subtle hint of white to any
dark color with which a gradation is almost nonvisible. Remember that white will
lower Chroma so be extremely conservative with its use.
For this section we will create two spheres for each color on our palette. Just as
each pure color on your palette has a different value--so will the value range of
each sphere vary. However, the rate of change can still fall between the rates seen
on Gradation Blocks 2 and 3. It is also important to remember here that black and
white are also colors on your palette. Obviously a black to black transition will
yield no gradation unless a hint of white is added to the light region. Again, be
conservative with its use.
As some of the painted spheres may have a sheen that generates a specular
highlight, you may feel free add it if you like. If the addition of a bright specular
highlight interferes with the successful development of your initial value/Chroma
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Directions:
Step 1
If your brush count is low, take care to remove as much color as possible from an active brush
before switching color. Color contamination will adversely affect the results of this exercise.
The sizes of these brushes should be comparable to your application or bristles brushes.
With the exception of color and an optional highlight, our procedure remains the same as the
previous sphere build. Begin with an initial angular depiction of a circle around 2 to 3 inches in
diameter. Indicate the main light dark
separation.
Step 2
Proceed just as you would with any previous Gradation-based exercise. Again, as our main
transition will be relatively short, it may only require a short initial taper of dark.
Step 3
Add your pure color in the same area that you would have added pure white in the previous
phase unless you plan to incorporate the optional highlight. If you wish to include a highlight
you may leave an exposed area where the highlight would occur for later implementation. As
always, vary your stroke direction to ensure an even transition.
This simplified version of a sphere, based on a given set of parameters—now including color-
-will make up the second phase of our Sphere Build repetition exercises. Your goal here will
be to create two spheres for each color on your palette within our previously determined
configuration of shape, value and color consistently.
ASSIGNMENT
Continue to perform this segment of the Sphere Build exercise until at least 1 full 16x20” panel is consistently
filled. Make every effort to maintain an evolution of Chroma that follows your value transitions. Keep in mind that
overworking transitions may potentially muddy the pure color and ultimately diminish the desired evolution of
Chroma. If you are working with 12 colors or less on our recommended 16x20” panel you should have extra room to
revisit any particularly challenging color sphere builds. Be sure to make use of this extra panel space. Do not move on
to the next section until each sphere is consistently executed. Keep each sphere consistent in size, rate of change and
surface finish. Confident and consistent execution is key here to develop strong, valuable skill sets. Maximize your
space to get as much practice as possible. Your instructor can guide you on how to make to most of your canvas or
panel’s work area.
294
Goal: Introduction of Chiaroscuro to further explore, through analysis and repetition, the manner in which light
Materials: full basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 4 and 6 . Any synthetic
pencil, kneaded eraser, Sphere
Now that we have established a simplified sphere schematic with color for exercise
purposes, we once again return to our sphere model to take a deeper look at
the values that reveal its form to us. To facilitate this deeper exploration we will
implement the additional sphere values that we omitted earlier in an effort to
simplify our sphere build.
Our exploration will be guided by a review of the concept of Chiaroscuro. An
Italian word meaning light and dark, Chiaroscuro is a term used to describe
a system of using contrasting lights and darks to achieve a sense of volume in
modelling three-dimensional objects.
We will identify and define seven common values that describe form. These will
become our seven basic values of Chiaroscuro. Becoming familiar with these
values will not only offer useful insight into how we perceive form, but will also
create an invaluable lexicon for referencing specific areas of your subject or
painting.
We begin with the lightest value describing the forms we observe: the Highlight.
This light value is the area of strongest illumination on an object, reflecting the
most light. In the orientation of our sphere model, the highlight is generated by
our primary light source and occurs along the light A axis as indicated in the
previous exercise. Depending on the reflective qualities of an object, highlights
may appear to behave differently. Diffused highlights are reflected in a broad
range of directions whereas specular highlights are more narrowly focused. A
specular highlight is a nearly perfect reflection of the light source on surfaces
with a sheen capable of such reflection. Some of our exercises make this type of
highlight optional as different types of painted forms may or may not register such
a reflection.
The second value we will identify will be our Middle-Tone. This can be described
as the generalized illuminated area of an object. The Middle-Tone will contain the
highlight, and value variations described as Half-Tones.
Our third value is Reflected Light. These values can be located just about anywhere
on an object and are created by light emanating from a Secondary Light Source. In
our sphere model, we see the presence of Reflected light strongest in the shadow
area. Light from the primary light source bounces off the sphere’s resting surface
and reflects back onto the sphere; this resting surface serves as a secondary light
source.
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Next, as we have identified a general light area, we must also identify a general
shadow area. We will refer to this area as the Attached Shadow. The Attached
Shadow is the general area of the object that is least effected by the primary light
source.
Our fifth value is actually found beyond the boundaries of our form. Identified as
a Cast Shadow, this area of value is cast upon a surface by an object intercepting
light from the primary or secondary light source.
The sixth value to be identified is referred to as the Attached Shadow Accent. This
is usually the darkest area of the attached shadow and is the area least affected by
BOTH primary and secondary light sources.
And last, the Cast Shadow Accent is the darkest region of the Cast Shadow. It can
almost always be found nearest the area where the object casting the shadow and
the receiving surface meet.
If we revisit the first phase of our Sphere Build repetition exercise, designed from
our X grid schematic we see that many of our common values of Chiaroscuro are
present. Our initial sphere exercise contains a diffused highlight and middle tone.
Our attached shadow is present. However, we will need to augment our sphere
build example to give rise to the remaining values, and also, make others much
more noticeable.
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Directions:
Step 1
Proceed to create an achromatic Sphere build as described in the Sphere build phase 1. Do not
add these additional values to any previously executed Sphere Build stages. Start fresh with
new ones as the additional repetitions will enhance your developing skill-sets.
As always, if your brush count is low, take care to remove as much color as possible from an
active brush before switching color. Color contamination will adversely affect the results of
this exercise. You may also use any synthetic or sable brushes at your disposal throughout
this exercise. The sizes of these brushes should be comparable to your application or bristles
brushes.
Step 2
With Sphere build 1 established, add the reflected light values into the shadow section as
observed in the previously studied sphere model. Make the reflected light bright enough to be
visible, but subtle enough to disappear when viewed while squinting. This basic squint-test
separation will ensure the contrast of the overall form is maintained. In addition, the attached
shadow accent should also be somewhat affected by the added reflected light--giving it a slight
vertical gradation. Make an effort to incorporate this very subtle gradation without removing
too much of the attached shadow accent in the process.
This newly augmented version of the sphere will make up the third phase of the Sphere Build
repetition exercises. Your goal here will be to accurately replicate the current Sphere build
model, with these additional values of Chiaroscuro--consistently.
Repeat the process described with two spheres for each color on your palette. Once again, as
with the Sphere Build phase 2, specular highlights are optional.
ASSIGNMENT
Continue to perform this segment of the Sphere Build exercise until at least 1 achromatic and 1 full color 16x20” panel are
consistently filled. Do not add the additional values of this Sphere build to any previously executed Sphere Build stages.
Start fresh with new ones as the additional repetitions will enhance your developing skill-sets. Do not move on to the next
section until each sphere is consistently executed. Keep each sphere consistent in size, rate of change and surface finish.
Confident and consistent execution is key here to develop strong, valuable skill sets. Maximize your space to get as much
practice as possible. Your instructor can guide you on how to make to the most of your canvas or panel’s work area.
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THE SPHERE – PHASE IV
Goal: Introduction of Chiaroscuro to further explore, through analysis and repetition, the manner in which light
Materials: full basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 4 and 6 . Any synthetic
pencil, kneaded eraser, Color Sphere
We have thus far, through observation, analysis, and repetition, explored a good
deal regarding the nature of the sphere and how we perceive it. We will now
replicate this geometric solid, with all values and color, in its environment.
Just as with the Form Box exercise, align your subject with your painting surface.
Once you are aligned, you can use general estimations, alignment tools or
comparative methods to determine many of your initial measurements.
We now have the opportunity to add in the final remaining values of Chiaroscuro
to our drawing. Just as the environment surrounding the sphere contains a Cast
Shadow and Cast Shadow accent, so will our finished drawing.
We should take a minute to point out that the shape of the Cast Shadow is very
important to describing the form itself. The Cast Shadow from a sphere in this
orientation will take on the shape of an ellipse. An ellipse is a geometric figure
resembling an elongated circle. It is essentially a closed curve in the form of
a symmetrical oval. Here we can see how the sphere intercepts light from the
primary light source as it travels toward the surface of the table. It generates an
elongated, elliptical shadow. We will explore the nature of the ellipse in greater
detail later on.
In preparation for the Sphere Life exercise, you will need the color sphere from
your Form Box or suitable substitute. Again, the color of the sphere is up to the
individual but it is highly recommended to use colors that are achievable with your
basic palette’s gamut.
As always, if your brush count is low, take care to remove as much color as possible from an active brush before switching color.
Color contamination will adversely affect the results of this exercise. You may also use any synthetic or sable brushes at your
disposal throughout this exercise. The sizes of these brushes should be comparable to your application or bristles brushes. You can
feel free to mask off a smaller area of the 16x20” panel with tape for your study to keep your composition’s edges neat and clean.
To complete this phase of the Sphere Build chapter, paint one Sphere with a surrounding environment as illustrated. Before
beginning the painting, carefully study how each shape, value and color work together to communicate the form of the sphere.
One particular item of note regarding the sphere we have chosen for this exercise is that a Hue shift is now added amidst the
Sphere’s many transitions. You will notice that the blue middle-tone near the highlight leans greener as the middle-tone near the
shadow leans more towards a blue-purple. This additional shift will allow the artist to face transitions in Hue, Value AND Chroma.
Keep in mind that you HAVE faced these multiple transitions in the program thus far---beginning with the Gradation Block
chapter.
Keep your painting as true to the actual size, value, and color structure of your available sphere model. Make every effort to
replicate the observable shapes and values as accurately as you can.
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THE SPHERE – PHASE IV
ASSIGNMENT
To complete this phase of the Sphere Build chapter, paint one Sphere with surrounding environment as illustrated. Be
sure to align your subject with your painting surface prior to start.
Carefully study your sphere model at the onset. Make every effort to replicate the observable shapes, values and colors
of your subject as accurately as possible.
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THE SPHERE – PHASE V
FINAL CUMULATIVE
Materials: ull basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 4 and 6 . Any synthetic
pencil, kneaded eraser, Color Sphere
We will conclude the study of each individual Form with a project referred to as a
Final Form Cumulative Painting. This exercise will not require you to draw from an
idealized Sphere model, but rather will require you to replicate spherical objects.
Proceed to select one or more spherical objects and arrange them into a single
composition. Make every effort to have your subjects interact with one another and
their environment. Be sure to challenge yourself by using subjects with multiple
textures or surface variations. This project can be executed from either 2D or 3D
reference models.
An important aspect to explore before proceeding with your painting is how the
communication of your subject’s form influences, and is influenced by, its surface
features. When your subjects have been selected and your arrangement complete,
take a moment to carefully study any textures or surface variations. Remember that
the values and colors that communicate the surface features, like texture, will be
greatly influenced by their location on the object and will in turn-- influence the
form. For example, looking at this image of a sphere bearing a pattern on its surface,
the design element located in the Middle-Tone is far lighter than the design element
found in the Attached shadow. In addition the colors of each pattern element lower
in Chroma as they move away from the light source. Surface features that deviate
from these value and color relationships to the form may cause your subject to lose
dimension and appear flatter (figure 1).
In preparation for the Sphere Final Cumulative exercise, you will need one or more
spherical models arranged into a single composition.
You can execute this work on any size panel you choose as these cumulative exercises often result in beautiful finished works. With
your subjects selected, choose the size that you feel is most appropriate.
Here are several examples of painted spherical objects. Notice that some of these spherical objects do not confirm to the idealized
solid sphere models that have been explored in the build chapters thus far. This presents a wonderful challenge for the individual to
adapt the previously studied models in an effort to capture a new spherical configuration of value and color. Try to choose subjects
that will present new and exciting challenges.
Brandon D. Drake Baseball (DETAIL) Anthony Waichulis Summer (DETAIL) Anthony Waichulis Recess (DETAIL)
5x7 Oil on Masonite 5x7 Oil on Masonite 8x10 Oil on Masonite
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THE SPHERE – FINAL CUMULATIVE
Brush sizes and styles can be determined by size and process. Just as illustrated
in the Form Box exercise, do not be afraid to deviate from our general ‘brush-use
wheel’ to increase material control at any point throughout your painting process.
Unless otherwise stated for specific training purposes, remember that as long as
you understand the dynamics of your application tools, you are free to use what
you wish in an effort to complete the challenge at hand.
Remember that you can almost always make more effective decisions if you
establish a few key anchors at the onset of a work.
If you use your palette knife to mix a color on your palette--know that after
achieving the desired color you may place the knife’s excess paint directly onto
the appropriate area on your painting surface. This practice helps you to be a bit
more economical with your paint supply. The paint can then be dispersed with the
appropriate brush.
Again, values and colors that communicate the surface features will be greatly
influenced by their location on the object and will in turn--influence the form.
Deviation from this relationship may cause your subject to lose dimension and
appear flatter.
ASSIGNMENT
To complete this chapter of the training series, arrange and execute a color painting containing one or more spherical
subjects in a basic environment. Make an effort to utilize subjects that have texture or surface variations. Be sure to
develop some interaction between the subjects and their environment when arranging the composition. Keep your
painting as true to the actual size, value, and color structure of your available reference. Make every effort to replicate
your subjects as accurately as you can.
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THE SPHERE EXERCISE EXAMPLES
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THE SPHERE EXERCISE EXAMPLES
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CREATIVE REPLICATION PROJECT SUPPLEMENT
Goals: • To garner additional experience in the process of bringing a concept to fruition.
• To gain additional experience in building a visual statement, communicating ideas, and successfully managing a
multitude of visual elements.
• To further the ability, through replication, to accurately execute precise values, shapes, and patterns.
Thus far, we have explored many foundational aspects of the painting endeavor including the Dot, Line, Shape, Value, and Color.
With a carefully calibrated sequence of exercises we have combined lines together to give rise to shape and value and then married
shape, value, and color to give rise to basic form. Our last chapter explored the first of four basic forms--The Sphere. Through rep-
lication, repetition, and careful analysis, our exploration of basic forms will continue to strengthen the foundation of our growing
visual vocabulary.
However, before continuing on to our next basic form for study, we would like to direct your attention to the Creative Replica-
tion Project Supplement. Introduced at the beginning of the basic form studies, Creative Replication Projects are supplemental
assignments designed to allow our apprentices to explore subjects of their choice while they are immersed in the challenging and
repetitive exercises of the main training program. While the vast majority of the parameters of these projects are left to the individ-
ual, faithful replication of select reference is required. It is through the student’s deliberate and confident verisimilitude that their
developing skill sets can be observed and cultivated.
Students may explore any subject or genre when embarking on a Creative Replication project. They are encouraged to scour their
evolving personal journals for ideas and concepts they may want to explore. Students should employ the same materials that have
been presented in the program thus far. Instructors may advise in the planning of the project or may serve in an advisory capacity
if desired, but will ultimately leave all of the creative decisions in the hands of the artist. Some of the earliest groundwork for the
artist’s developing visual language can be explored here with these projects.
Brandon D. Drake La Belle et la Bete 7x16 Oil on Masonite Erika Baez White Noise 13x18 Oil on Masonite
Omar Rodriguez Rock Beats Paper (DETAIL) 8x10 Oil on Masonite Brian O’Neill Summer 9x12 Oil on Masonite
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For a sample of a Creative Replication work we will look to artist and program
designer Anthony Waichulis.
My process for composing an original work begins with an exploration through the
visual lexicon I have been developing for years (figure 1). I believe that throughout
an artist’s career he or she will develop a visual vocabulary of familiar subjects,
motifs, symbols, etc..that will eventually form a very unique but highly effective
language.
I try to encourage many of my students to choose subject matter that inspires them
as they will be much more likely to create something inspirational. It is difficult
to pour a great deal of energy into a project that you are not passionate about. We
all need inspirational momentum to push through those difficult membranes of
development. There is often great work waiting on the other side.
There are few limitations to Creative Replication projects. Aside from subject,
artists may choose to utilize any reference source as long as a direct comparison
between reference source and artwork can be achieved and measured (figure 2).
This leaves the artists a great amount of creative freedom here and hopefully sets
the stage for a very enjoyable endeavor.
In preparation for a Creative replication exercise you will need your full basic
palette or applicable colors along with your medium of choice. You can execute this
work on any size panel you feel is appropriate.
A Palette knife may be used for any necessary mixing as with the Basic Palette
Color Chart. As with the previous exercises, the Drafting tools seen in our material
box will also be necessary to establish any preliminary line drawing. Paper towels
should also be on hand.
Since the work is relatively small you will see that I break from the basic Brush
wheel to start with small synthetic brushes–both rounds and filberts. You can see
these brushes in the material boxes on your workscreen.
You will notice that there is a layer of paper over the painting which will slowly be
peeled away as the painting progresses downward (figure 3). This paper is placed
over my painting surface and initial cartoon to eliminate any hand rest smearing
or other potential surface contamination. In addition, this paper keeps me from
jumping around the painting and on a more focused path of development.
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Like many of the exercises in the Language of Painting I begin with some easily
established anchors.
Early on I take great care to ensure that my early shapes and values are accurate.
Sometimes early color is sacrificed in favor of opaque value-correct applications.
It is my experience that color can be more easily and effectively corrected with
minimal procedural impact as opposed to value.
I have set up a few scenarios in this project that will illustrate some procedural
diversity. For example I will tackle some image graphics in a direct wet into wet
painting method in which the artist endeavors to mix a color of the correct hue,
value, and intensity and apply it directly to the canvas---
With other elements, like the graphics of the scrabble piece, I will utilize a more
indirect method that will build up correct hue, value, and intensity through a series
of transparent or semi-transparent glazes or scumbles over a dry underpainting.
Even though you can see me using smaller synthetics for paint application I am
still making every effort to maintain a paint load on the brush which will allow for
the optimal bush pressure dynamic we have used throughout the program.
It is important that you not become overwhelmed with complex or detailed subject
matter. It can all be simplified into a something easily digestible. Just take things
slowly are carefully.
From a procedural standpoint---this work is no different from any of the exercises

done thus far.
With my first pass in and dry I will proceed, in the indirect manner mentioned
earlier, to add the additional graphics throughout the work. I have decided to also
change the scrabble piece from an ‘L’ to a ‘V’ piece. This is a small change, but
something that I wanted to show. Make sure that any deviations in replication are
first discussed with your instructor if applicable.
To add this new element to the painting we will need to make sure that the area
does not suffer from the effects of sinking. We will need to verify or restore the
appearance of the initial paint film before we can make decisions based on accurate
information.
The process of restoring sunken paint to its original appearance is known as

‘oiling out’. This process consists of applying an activating material like drying oil
or a particular painting medium to a sunken paint film in an effort to restore its
original appearance. While there are several different approaches to oiling out a
painting, we will look to a very conservative or economical approach.
Just as seen with the Gradation Block exercise, I first gently test the area to be
worked with a light colored synthetic brush to see if there is any evidence of wet
color. I then add an extremely conservative amount of painting medium to the
target area along with the immediate surrounding areas with a synthetic brush. I
add just enough medium to see the original appearance of the paint return.
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Do not add any more material than is absolutely necessary in an effort to be as
conservative as possible. With the surface colors/values verified I can begin to add
the intended graphics.
When the entire painting surface is completely dry I can begin to add a full second
‘refining’ pass. I use a light colored synthetic to check for any signs of wet color. If
all seems clear I will look for any unwanted surface buildup in the first paint layer.
As seen in the Gradation Pattern exercise--these buildups can be removed with
very light sanding. With extremely light pressure and a gentle circular motion, I
sand away any unwanted surface buildups. If the area seems to pull or be pliable in
any way I will immediately stop as the paint film is not yet dry. I will wait another
24 to 48 hours before any reattempt to sand.
I do not sand any areas that do not absolutely require sanding. Excessive sanding
can remove hours of work unnecessarily. Use your best judgment to determine if
light sanding is required or ask your instructor if applicable.
If the paint is thoroughly dry it should smooth out evenly. Smooth the area down
to a desired finish and then gently wipe with a clean low lint or lint-free paper
towel. Gently wipe the sanded area until little to no signs of color are being lifted.
With any second layer pass I will add a very conservative amount of medium
to target areas to verify values, colors, and gradation evenness. Outside of
major changes, any adjustments or augmentations can generally be made with
conservative amounts of paint.
The chalkboard background that I have chosen for this piece will also be done in a
somewhat indirect manner. When the flat even second layer of dark is completely
dry I will begin to scumble on thin veils of white to simulate years of chalk dust
buildup.
I will continue to reactivate or verify any areas of my first layer with extremely
conservative amounts of medium. For this scrabble piece, I will refine the colors
and values of the form of the block with fairly thin layers of paint.
I will cover the graphic with a semi-transparent layer of paint to clean the surface
of the object. This is more effective as it allows me the opportunity to clean the
shadow edge without having to go around the graphic. Additionally—it will seal a
ghost of the graphic for me to follow with a subsequent layer.
My process continues with a thorough scouring of the surface for breaks in

gradations or unrefined values, colors, or gradations. These areas are identified
and fixed accordingly. I save all of the chalkboard writing or graphics until the very
end. For me it is a fun way to wrap up the piece.
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Students are encouraged to create one Creative side project per form study. Again, while the vast majority of the parameters of
these projects are left to the individual, faithful replication of select reference is required. It is through the student’s deliberate and
confident verisimilitude that their developing skill sets can be observed and cultivated.
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THE CYLINDER
THE CYLINDER – PHASE I
Goal: Explore, through analysis and repetition, the manner in which light describes cylindrical forms.
pencil, kneaded eraser, Color Cylinder
Returning to our Form Box, locate and remove the Cylinder for study. Shown here
are two cylinders placed within a Shadow Box. They are illuminated from the top
left, front, by a primary light source just as were the previous Sphere and Form
Box exercises. Carefully move the light around and see how the Cylinders react.
Notice how the play of values describe this form to us.
Return your primary light source to the top, left, front so that your cylinder or
cylinders are illuminated as shown. Again, we are attempting to maintain a series
of standard variables that will allow us to focus more on the unique nature of each
form. In studying the Cylinder initially you may notice that it is a slightly more
complex form than the sphere in certain regards. While it is quite similar in its’
curvilinear nature, the shape of the cylinder will seem to change as its’ orientation
varies, thus introducing elements of perspective.
Perspective, in regards to Visual art, is a process of representing the spatial relation

of objects as they might appear to the eye. For example, whereas the sphere’s shape
would remain a circle regardless of its orientation in space, a cylinder’s shape
WILL appear to change as does its orientation. Notice how the overall shape of
the upright cylinder in the central image here differs from the overall shape of the
cylinder on its side.
However, there are many very familiar elements to this form. Note how the form
of the cylinder’s central shaft is described by a value structure that is extremely
similar to those presented in the Gradation Block exercise. Many of the new
elements that we encounter will echo the concepts and elements previously
introduced.
In an effort to build a schematic for the Cylinder, we will use a central axis to divide
the cylinder and connect the centers of the circular bases. These bases appear
elongated due to our perspective, and are observed as ellipses (figure 1). You will
remember that we introduced the concept of the elongated circle, or ‘ellipse’ when
investigating the cast shadow of a sphere. What you will notice here is that the
ellipse shape will change based on the orientation of the cylinder.
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THE CYLINDER
As we investigate the cylinder shaft’s relation to the ellipses we discover the central
axis that divides the cylinder, and connects the central points of the bases, will
occur perpendicular to the longest, or major, axis of the ellipse.
This is similar to X grid we used for the sphere schematic. Regardless of
orientation, the central axis of the cylinder and the long axis of the ellipse will
always meet at a 90 degree angle. No matter how complex the perspective may
become, this relationship of central body and base axis will remain intact
(figure 2).
Notice how the overall shape of the cylinder changes as the orientation is altered.
Carefully observe how the values work to describe the form of this solid. While we
are just beginning to investigate this form, many of its attributes may again seem
very familiar.
Let’s begin, as we did with the sphere by simplifying the entire form. In fact, let’s
lose the bases all together and just tackle the more familiar central, curvilinear
component.
With our light source in the home or top, left, front position, we can see that
light grades in different directions, with different ranges, and at different rates as
determined by the form itself (figure 3). To establish a schematic for this form, we
will re-incorporate the central axis line to bisect the cylinder shaft. Adding two
parallel lines equidistant from the main axis and the outer edge will divide the
form into four quadrants. With this division we can again verify our 3:1 light to
shadow ratio.
While observing this particular form in this orientation and lighting scenario, we can see that the brightest value occurs at the first
quadrant boundary line and the main light/shadow separation occurs at the last quadrant boundary line.
In the Language of Drawing we broke the Cylinder build exercises into three phases. We focused on the main horizontal light to
dark gradation, the subtle vertical light to dark gradation, and then the influence of reflected lights.
However the Language of Painting will condense this a bit and will organize the sphere build repetitions into two large phases—
each phase containing one achromatic stage and one color. Phase one will tackle the major horizontal and subtle vertical gradations
of light--both with and without color. Phase two will address the influence of reflected light--again--both with and without color.
As we have stated before, this may all seem extremely familiar as it is essentially a revisit of the early Gradation Block exercise.
Just as with the Basic Palette Color Chart, you are welcome to expand your number of application brushes if possible. As always,
if your brush count is low, take care to remove as much color as possible from an active brush before switching color. Color
contamination will adversely affect the results of this exercise. You may also use any synthetic or sable brushes at your disposal
throughout this exercise. The sizes of these brushes should be comparable to your application or bristles brushes.
Directions:
Begin by establishing an extremely light 4x3” graphite or charcoal rectangle that will house the
Phase 1 cylinder build gradations.
previous gradation or sphere build exercises--you may establish any schematic reference marks
you wish as long as they are applied in a manner that will not adversely affect the application of
paint. We can subdivide our housing rectangle into quadrants just as with our sphere schematic
(figure 1). Our far left quadrant boundary will act our highlight anchor and the far right as our
main light and dark separation line.
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THE CYLINDER
With this layout, or schematic, of our simplified cylindrical form, we will add value as we have
in our other Gradation-based or previous sphere build exercises. As to our value range and rate
of change, we will set the exercise parameters for a full value range-bright white to rich black-
and a somewhat short main transition around the indicated central light/dark separation line.
A gradation rate equivalent to Gradation Block models 2 or 3 is acceptable.
As mentioned earlier, we will also include a color stage in this Cylinder build phase (figure 2).
With the exception of color use and the implementation of an optional highlight, our painting
procedure for this Cylinder build remains the same.
The goal here is to execute a gradation of pure color to black within the Cylindrical schematic
introduced. The area of the Cylindrical gradation where we initiated our pure white will now
consist of pure color. This area of pure color, or high Chroma, will become less brilliant---or
lower in Chroma--as it follows the darkening values approaching the shadow section of the
Cylinder. The shadow section should remain black, however you may utilize umbers or other
colors to help augment a challenging transition--like certain yellows, where a resulting green
may emerge as the color nears black. A reddish neutral like burnt umber or even something
stronger may help to eradicate some of the influence of an undesired green. Some of these
color issues were faced in the earlier Gradation Block Model exercises.
Additionally, for this exercise it is acceptable to add a subtle hint of white to any dark color
with which a gradation is almost nonvisible. Remember that white will lower Chroma so be
extremely conservative with its use.
For this section we will create two Cylindrical gradations for each color on our palette. Just
as each pure color on your palette has a different value--the value range of each gradation will
vary. However, the rate of change can still fall between the rates seen on Gradation Blocks 2 and 3. It is also important to remember
here that black and white are also colors on your palette. Obviously a black to black transition will yield no gradation unless a hint
of white is added to the light region. Again, be conservative with its use.
You may choose to include an optional specular highlight if you like. However, as with the sphere build repetitions, if the addition
of a bright specular highlight interferes with the successful development of your initial value/Chroma form gradation, omit it and
revisit it after some practice.
ASSIGNMENT
Continue to perform this first phase of the Cylinder Build exercise until
at least 1 full 16x20” panel of Achromatic Cylindrical gradations and
1 full panel of Color Cylindrical gradations are consistently filled. As
shown in the exercise examples, if the requirement of two Cylindrical
gradations per palette color does not all fit on one panel, additional
panels may be required. Make every effort to maintain an evolution
of Chroma that follows your value transitions. Keep in mind that
overworking transitions may potentially muddy the pure color and
ultimately diminish the desired evolution of Chroma. Do not move on
to the next section until each phase one Cylinder build is consistently
executed. Keep each Cylinder consistent in size, rate of change and
surface finish. Confident and consistent execution is key here to develop
strong, valuable skill sets. Maximize your space to get as much practice as
possible. Your instructor can guide you on how to make to most of your
canvas or panel’s work area.
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THE CYLINDER
Now that we have established a strong initial series of gradations that begin to
successfully communicate the body of the Cylinder, we must revisit the model to take a
deeper look at the values that reveal its form.
We will re-administer the effects of the reflected light in our example shown here to
make the common values of Chiaroscuro we explored, far more evident (figure 3).
Watch as the common values we discussed are identified. Based on your previous
experience with Chiaroscuro and the sphere, see if you can locate them before they are
revealed.
Thus far, our Cylinder build contains a general highlight, middle-tone, and attached
shadow. Our Cast Shadow and Cast Shadow accent are not currently applicable,
however we can still add the Reflected Light. The addition of the Reflected Light will
allow the Attached Shadow Accent to become more apparent (figure 4).
Refer to your cylinder model to reference the intensity of the reflected light, its rate of
change, and other variables that you otherwise may need to estimate.
Directions:
Proceed to create an achromatic phase one Cylinder build as described in the previous section.
Do not add these additional values to any previously executed Cylinder Build stages. Start fresh
with new ones as the additional repetitions will enhance your developing skill-sets.
our cylinder build, we arrive at the goal for the second phase of our Cylinder Build exercise.
Again, do not add the Reflected light values to your previously executed Cylinder Build stage
exercises. As with the previous Cylinder Build phase, execute 2 new color Cylindrical Build
phase gradations for each color on your palette.
ASSIGNMENT
Continue to perform this second phase of the Cylinder Build exercise until at least 1 full
16x20” panel of Achromatic Cylindrical gradations and 1 full panel of Color Cylindrical
gradations are consistently filled. As shown in the exercise examples, if the requirement of two
Cylindrical gradations per palette color does not all fit on one panel, additional panels may be
required. Apply the reflected light while keeping the initial gradations intact. Make every effort
to maintain an evolution of Chroma that follows your value transitions. Keep in mind that
overworking transitions may potentially muddy the pure color and ultimately diminish the
desired evolution of Chroma. Do not move on to the next section until each phase two Cylinder
build is consistently executed. Keep each Cylinder consistent in size, rate of change and surface
finish. Confident and consistent execution is key here to develop strong, valuable skill sets.
Maximize your space to get as much practice as possible. Your instructor can guide you on how
to make to most of your canvas or panel’s work area.
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THE CYLINDER EXERCISE EXAMPLES
313
THE CYLINDER – PHASE II ELLIPSES
Materials: full basic palette, 16x20” exercise panel, a minimum of 2 filbert bristle brushes: sizes 2, 4, or 6. Any synthetic
pencil, kneaded eraser, Ellipse Chart reference sheet, cylindrical model.
Returning to our Cylinder model we must now incorporate the aspects of the
cylinder we removed to initially simplify our study: the circular bases, or as seen in
this perspective, ellipses (figure 1).
Drawing circles in perspective can prove challenging. However, we will present a

simplified approach to not only creating a successful ellipse, but a manner in which
to successfully marry it to the main cylinder body.
We once again employ a simple ‘x’ grid to analyze and understand the construction
of a basic ellipse. In this orientation of an ellipse as shown we can identify a short
and long axis. The two points of the shape that are at the furthest distance create a
major axis while the two closest points create a minor axis. Just as with the sphere,
these lines form a 90 degree angle and bisect the ellipse symmetrically (figure 2).
As mentioned, not only will we use these two axis lines to create a successful
ellipse, but the minor axis (illustrated earlier as line A) will join with the central
axis of the cylinder body to marry the components of the cylinder together. As
seen here, the cylinder’s central axis and the ellipse’s minor axis join, while the
major ellipse axis remains at a 90 degree angle. Again, this relationship between
circular base and cylinder body remains intact regardless of orientation (figure 3).
To become more familiar with the construction of ellipses we have included

an ellipse chart exercise. This sheet contains a series of ellipses evolving in
perspective. There are specific instructions for how to print this reference sheet
to maximize your challenge. The chart is to be doubled in size and duplicated
inversely as shown. This is another instance where familiarity with a comparative
measurement method will prove quite useful.
Directions:
Step 1
With your choice of either graphite or charcoal, establish the overall height and width of the
chart as shown (figure 4). Proceed to then add the central axis guide line and individual ellipses’
major axis. You can then measure the distances between the major axes on your reference sheet,
doubling the results for your reproduction. From this simple schematic you should be able to
determine the remaining measurements. You may feel free to add any guidelines that are helpful
to you. Just as with the Sphere’s ‘x’ grid, keep the guidelines extremely light. You do not want
these early schematic lines to hinder the application of later value.
As always, if your brush count is low, take care to remove as much color as possible from an
active brush before switching color. Color contamination will adversely affect the results of
this exercise. You may also use any synthetic or sable brushes at your disposal throughout this
exercise. The sizes of these brushes should be comparable to your application or bristles brushes.
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THE CYLINDER – PHASE II ELLIPSES
Step 2
Just as observed in our cylinder model, we will need to add an ‘internal’, secondary ellipse to the
primary ones already populating the chart. This addition of a secondary inner ellipse will describe the
thickness of the cylinder body and further promote depth.
The secondary ellipses will have the same degree of shape as the primary ellipse; however, it will be
reduced in size. To further communicate the effects of perspective, we will also shift the inner ellipse
above or below the primary axis line depending upon which part of the cylinder’s base is closest to us.
In this example the bottom of the first ellipse is closest, so the inner ellipse is slightly shifted above
the primary ellipse’s axis, towards the top edge of the primary ellipse. This makes it appear as though
the thickness of the cylinder’s body is greater as it is nearer the viewer, as is often observed in nature
(figure 5). However, as the ellipse turns more towards the viewer and evolves closer to a circle, the axes
will grow closer and eventually align. Here the distance between the edge of the inner and outer ellipse
remain fixed (figure 6).
Step 3
Using your cylinder model as a reference guide, draw in the inner ellipses to give additional dimension
to the cylinder’s body. By replicating the ellipses found on the chart with your cylinder model you can
get a good sense of how far to shift inner ellipses.
To maximize variety throughout the Ellipse Chart Exercise, we will have the left evolution column turn
towards the viewer and the right evolution column turn away. This means that inner ellipses on the
left side will rise above the primary ellipses’ axes as the shape is distanced from a circle, and below the
primary axes on the right.
When the line drawing for your chart is established, revisit your cylinder model once again for value
reference. With your primary light source in the home position illuminating your cylinder, alter the tilt
of the model so that you may arrive at evolving value structures that can be reproduced on your chart.
Proceed to populate the chart schematic with the appropriate value and color as observed from your
models. Here you can see a completed version of this ellipse chart.
ASSIGNMENT
Resize and replicate the Ellipse chart schematic found in your Companion
Text and add the appropriate values and/or colors to yield a three
dimensional evolution of ellipses. The size of your chart should be
precisely double the size of the reference sheet’s schematic example. Use
your form box Cylinder model or other available cylindrical models a
source of reference as often as possible to ensure that your finished chart
is as dimensional as possible.
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ELLIPSE CHART REFERENCE SHEET
Print @ 100 %.
Each ellipse on the reference
sheet should be 2” wide when
printed. The ellipses should then
be painted doubled in size @ 4”.
Maintain all proportions and
distances between ellipses when
scaling up.
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ELLIPSE CHART REFERENCE SHEET 2
317
THE ELLIPSE CHART EXERCISE EXAMPLES
318
THE CYLINDER – PHASE III CYLINDRICAL LIFE STUDY
pencil, kneaded eraser, Color Cylinder.
As with the Sphere, through observation, investigation, and repetition, we have explored a good deal regarding the nature of the
Cylinder and how we perceive it. We will now replicate this geometric solid, with all of our common values of Chiaroscuro, in its
environment.
Align your subject with your drawing surface and easel. Once you are aligned, you can use general estimations, alignment tools, or
comparative measurement methods to determine initial measurements. We now have the opportunity to add in the final remaining
values of Chiaroscuro, The Cast Shadow and Cast Shadow Accent, to the Cylinder.
Remember that the shape of the Cast Shadow is very important to describing the form itself. Take notice of how the cylinder’s cast
shadow shape differs from that of the sphere. The end of the Cylinder’s cast shadow may appear rounded and elliptical like that of
the sphere as the ends of the cylinder are circular.
You can feel free to mask off a smaller area of the 16x20” panel with tape for your study to keep your composition’s edges neat and
clean.
ASSIGNMENT
Proceed to paint one Cylinder upright with a simple surrounding environment. Use careful observation, and
the same painting procedure we have utilized thus far to capture this basic geometric solid. Paint one Cylinder
with surrounding environment. Carefully study your sphere model at the onset. Make every effort to replicate
the observable shapes, values and colors of your subject as accurately as possible.
319
THE CYLINDER – PHASE IV THE CYLINDER WHEEL
pencil, kneaded eraser, Cylinder model, Cylinder Wheel Reference sheet.
As the sphere’s shape was unaffected by its orientation in space, the cylinder is quite
different. To explore the many variations of shape and value influenced by the position of the
Cylinder we have added an exercise to this Chapter called The Cylinder Wheel Exercise.
This exercise not only further familiarizes you with the nature of the Cylinder, but it begins
to develop your improvisational skills and your ability to make logical estimates.
Retrieve the Cylinder Wheel Reference sheet from your student manual. The goal here is
to arrange 8 Cylinders in varied orientations radiating from a central point. Use the lines
extending from the center point as your primary Cone axis, A. Major Ellipses axes, B can
then be plotted perpendicular to lines A. After your wheel schematic design is complete,
add the appropriate values and colors so as to communicate a wheel of dimensional
Cylinders being illuminated by a single primary light source. You may experiment with
moving the primary light source away from the commonly used ‘home’ position as long as
you make sure the light source position remains constant throughout the exercise.
One of the great challenges that come with the Cylinder Wheel exercise is the ability to
implement plausible relationships between illustrated cylinders with limited resource
models. You must rely on your ability to observe, analyze, and improvise beyond what
you have done before to yield a strong unified representation of 8 Cylinders populating the
same image under one primary light source. Cast Shadows and Reflected lights should be
calculated carefully.
Proceed to lay out a general wheel design cartoon or schematic in graphite or charcoal. The
colors of the Cylinders are left up to the individual but it is highly recommended to use
colors that are achievable with your basic palette’s gamut.
With your initial layout established, proceed to populate the layout with appropriate values
and colors to yield a highly dimensional configuration of Cylinders around a central point.
Remember to make sure that all of the Cylinders are illuminated by a single primary light
source and that the Cylinders interact with each other if applicable.
Proceed to paint one Cylinder upright with a simple surrounding

environment. Use careful observation, and the same painting
procedure we have utilized thus far to capture this basic geometric
solid. Paint one Cylinder with surrounding environment.
Carefully study your sphere model at the onset. Make every effort to
replicate the observable shapes, values and colors of your subject as
accurately as possible.
320
CYLINDER WHEEL REFERENCE
Arrange 8 Cylinders in varied orientations around a

central hub. Use the lines extending from the hub as
your primary cylinder axis (a). Ellipse axis (b) will then
run perpendicular to a. After your design is complete,
add value to illustrate the entire wheel as illuminated
from one light source.
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322
THE CYLINDER – PHASE V FINAL CUMULATIVE
Materials: full basic palette, any size exercise panel, a minimum of 2 filbert bristle brushes: sizes 2, 4, or 6. Any synthetic
pencil, kneaded eraser, Cylinder model.
At this stage we have amassed a good deal of information regarding the nature of
the cylinder and how we perceive it. Our skills have further developed and we now
prepare to create a Final Cumulative Drawing to close out this challenging chapter.
Unlike the Sphere’s Cumulative Final, which was comprised of only spherical
subjects, this chapter’s exercise grows to fulfill what its title implies, a combination
of both Spherical AND Cylindrical subjects.
As with the previous Cumulative Final, this chapter’s version offers a departure
from the idealized models we have been using in lieu of more varied spherical and
cylindrical models.
Proceed to select and arrange 2 to 3 spherical and cylindrical objects into one
composition. Make every effort to have your subjects interact with one another
and their environment. Make every effort to challenge yourself by using subjects
with texture or surface variations. Once again, this project should be executed
from actual models.
An important aspect to explore before proceeding with your painting is how the
communication of your subject’s form influences, and is influenced by, its surface
features. When your subjects have been selected and your arrangement complete,
take a moment to carefully study any textures or surface variations. Remember
that the values and colors that communicate the surface features, like texture, will
be greatly influenced by their location on the object and will in turn–influence
the form. For example, looking at this image of a Cylinder bearing a pattern on
its surface, the design element located in the Middle-Tone is far lighter than the
design element found in the Attached shadow. In addition the colors of the pattern
lower in Chroma as they move away from the light source. Surface features that
deviate from these value and color relationships may cause your subject to lose
dimension and appear flatter (figure 1).
Here are several examples of paintings containing a combination of spherical and cylindrical subjects. Notice that some of these
objects do not confirm to the idealized solid form models that have been explored in the build chapters thus far. This presents a
wonderful challenge for the individual to adapt the previously studied models in an effort to capture a new cylindrical configura-
tion of value and color. Try to choose subjects that will present new and exciting challenges.
Timothy W. Jahn Defeat in Victory (DETAIL) Kate Sammons Blue Hour Anthony Waichulis Lessons
8x5.5 Oil on Masonite 19x16 Oil on Masonite 8x10 Oil on Masonite
323
324
To find the subject for this exercise we looked a little beyond the confines of our
studio and embarked on a Plein air journey with artist Leah Waichulis. Plein air
is a French expression which means “in the open air,” and is particularly used to
describe the act of painting outdoors.
Artists have long painted outdoors, but in the mid-19th century working in natural
light became particularly important to the Barbizon school and Impressionism.
The popularity of Plein air painting increased in the 1870s with the introduction of
paints in tubes (resembling modern toothpaste tubes).
It doesn’t take long to identify an appropriate nature scene to meet the

requirements of the Cylindrical cumulative.
A portable folding easel and chair-- along with a few studio essentials-- make for
a quick mobile studio. Just as seen in our previous studio exercises, Leah takes
great care to make sure that her subject and target surface are in alignment. Her
application process remains the same as it would in the studio.
In preparation for the Cylinder Final Cumulative exercise, you will need one or
more spherical and cylindrical models arranged into a single composition.
You can execute this work on any size panel you choose as these cumulative
exercises often result in beautiful finished works. With your subjects selected,
choose the size that you feel is most appropriate.
Again-- regardless of your setting--make an effort to align your painting surface

with your subject. As with previous exercises, you may establish a preliminary
cartoon with either graphite or charcoal. Our process unfolds as with our previous
exercises--dark to light with anticipatory tapers throughout. Remember that you
can almost always make more effective decisions if you establish a few key anchors
at the onset of a work.
If you use your palette knife to mix a color on your palette--know that after
achieving the desired color you may place the knife’s excess paint directly onto
the appropriate area on your painting surface. This practice helps you to be a bit
more economical with your paint supply. The paint can then be dispersed with the
appropriate brush.
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ASSIGNMENT
Arrange and execute a color painting containing an assortment of spherical and cylindrical subjects in an
environment. Make an effort to utilize subjects that have texture or surface variations. Be sure to develop some
interaction between the subjects and their environment when arranging the composition. Keep your painting as true
to the actual size, value, and color structure of your available reference. Make every effort to replicate your subjects as
326
THE CONE
THE CONE – PHASE I
Goal: Explore, through analysis and repetition, the manner in which light describes forms.
pencil, kneaded eraser, Cone.
With a thorough introduction to both the Sphere and Cylinder in previous
chapters, we now return to The Waichulis Form Box to isolate the Cone for similar
study.
Shown here is a single upright cone placed within a Shadow Box. This particular
form tapers smoothly from a flat circular base to a point or apex. Here, the cone
is illuminated from the top, left, front, by a primary light source just as were the
Sphere and Cylinder studies in the previous exercises.
Once again, for our purposes here this light orientation will be referred to as our
‘home’ position. Take a moment to carefully move your primary light around
and observe how the values of the Cone are affected. Notice how the play of
values describe this form to us. Now take a moment to place the cone in different
positions. Notice how the overall shape, like the cylinder, is altered based on its
orientation to the viewer.
Return your cone to its initial upright orientation, and your primary light source to
the home position, so that your Cone is illuminated as shown. Again, just as with
the previous studies of the Sphere and Cylinder, we are attempting to maintain a
series of standard variables that will allow us to focus more on the unique nature of
each form.
In your initial examination of the Cone you may notice its’ similarity to the
Cylinder in certain regards to the aforementioned influence on its’ shape due to its’
orientation. Once again, we must look to the effects of perspective.
As mentioned in the previous installment, Perspective is a process of representing
the spatial relation of objects as they might appear to the eye. For example, whereas
the sphere’s shape would remain a circle regardless of its orientation in space, a
Cone’s shape WILL appear to change as does its orientation.
327
In examining the body of the Cone a little closer here, we notice that the value
structure is quite similar to that of the Cylinder. However, closer inspection shows
that the central gradations appear somewhat skewed in a way that seems to emulate
the form’s overall shape.
To explore this form further we will develop a schematic for repetition as with
our previous forms (figure 1). We begin with a central axis that will divide the
Cone and connect the centers of the circular bases with the apex. Remember that
the Cone’s base appears elongated due to our perspective, and is observed as an
ellipse. You will remember that we introduced the concept of the elongated circle,
or ‘ellipse’, when investigating the cast shadow of the sphere and then again while
immersed in our study of the Cylinder.
Notice how the ellipse shape will change based on the orientation of the Cone.
With further investigation into the relationship between the body of the Cone and
the base, we discover that the central axis that divides the Cone, and connects the
base to the apex, will occur perpendicular to the longest, or major, axis of
the ellipse.
This is very similar to X grid we used for the sphere schematic and the ‘I’ frame of
the Cylinder. Regardless of orientation, the central axis of the Cone and the long
axis of the ellipse will always meet at a 90 degree angle (figure 2). No matter how
complex the perspective may become, this relationship of central body and base
axis will remain intact. Notice how the overall shape of the Cone changes as the
orientation is altered. Carefully observe how the values work to describe the form
of this solid. Again, while we are just beginning to investigate this form, many of
its attributes may seem very familiar.
With our light source in the home or top, left, front position, we can see that
light grades in different directions, with different ranges, and at different rates as
determined by the form itself.
To establish a schematic for this form, we will re-incorporate the central axis line
to bisect the central Cone body. For the Cylinder, we added two parallel lines
equidistant from the main axis and the outer edge to divide the form into four
quadrants. However, to divide this particular form into the 3:1 light ratio, we must
alter the Cylinder schematic so that the quadrants will converge from base to apex
just as the form itself tapers. With this division we can again establish our 3:1 light
to shadow ratio (figure 3).
While observing this particular form in this orientation and lighting scenario, we
can see that the brightest value still occurs at the first quadrant boundary line and the main light/shadow separation occurs at the
last quadrant boundary line. These specific values will also swell and taper as defined by their location to or from the base or apex.
In the Language of Drawing we broke the Cone build exercises into three phases. We focused on the main horizontal light to dark
gradation, the subtle vertical light to dark gradation, and then the influence of reflected lights.
However the Language of Painting will condense this a bit and will organize the Cone build repetitions into two phases—each
phase containing one achromatic stage and one color.
Phase one will tackle the major horizontal and subtle vertical gradations of light both with and without color. Phase two will
address the influences of reflected light--again--both with and without color.
328
Directions:
Begin by establishing an upside-down “T” frame in graphite or charcoal that is 4” high by 3”
wide. From the ends of the bottom 3” base line, establish two lines that converge to the top of
the 4” central axis line thus creating a triangle.
previous gradation or sphere build exercises--you may establish any schematic reference marks
you wish as long as they are applied in a manner that will not adversely affect the application
of paint. We can subdivide our housing triangle into quadrants just as with our sphere and
cylinder schematic. Our far left quadrant boundary will act our highlight anchor and the far
right as our main light and dark separation line.
As to our value range and rate of change, we will set the exercise parameters for a full value
range-bright white to rich black-and a somewhat short main transition around the indicated
central light/dark separation line.
A general mid-cone gradation rate equivalent to Gradation Block models 2 or 3 is acceptable.

With this layout, or schematic, of our simplified conical form, we will add value as we have in
our other Gradation-based or previous sphere build exercises.
Note of how the gradation rate of change differs between the area near the base of the Cone
and its’ apex. As the space between the light and dark becomes compressed, so the rate of
change occurs at a quicker pace. Make sure to take this dynamic into account when applying
your initial gradation tapers.
As mentioned earlier, we will also include a color stage in this Cone build phase. With the
exception of color use and the implementation of an optional highlight, our painting procedure
for this Cone build remains the same.
The goal here is to execute a gradation of pure color to black within the Conical schematic
introduced.
The area of the Conical gradation where we initiated our pure white will now consist of pure
color. This area of pure color, or high Chroma, will become less brilliant---or lower in Chroma-
-as it follows the darkening values approaching the shadow section of the Cone. The shadow
section should remain black, however you may utilize umbers or other colors to help augment a challenging transition--like certain
yellows, where a resulting green may emerge as the color nears black. A reddish neutral like burnt umber or even something
stronger may help to eradicate some of the influence of an undesired green. Some of these color issues were faced in the earlier
Gradation Block Model exercises.
Additionally, for this exercise it is acceptable to add a subtle hint of white to any dark color with which a gradation is almost
nonvisible. Remember that white will lower Chroma so be extremely conservative with its use.
For this section we will create two Conical gradations for each color on our palette. Just as each pure color on your palette
has a different value--the value range of each gradation will vary. However, the rate of mid-cone change can still fall between
the rates seen on Gradation Blocks 2 and 3. It is also important to remember here that black and white are also colors on your
palette. Obviously a black to black transition will yield no gradation unless a hint of white is added to the light region. Again, be
conservative with its use.
You may choose to include an optional specular highlight if you like. However, as with the sphere build repetitions, if the addition
of a bright specular highlight interferes with the successful development of your initial value/Chroma form gradation, omit it and
revisit it after some practice. Be sure to take special notice of the shape of the cone’s specular highlight if observable on your cone
model. It will differ from the shape of the specular highlight seen on the Cylinder.
329
ASSIGNMENT
Continue to perform this first phase of the Cone Build exercise until at least 1 full 16x20” panel of Achromatic Conical
gradations and 1 full panel of Color Conical gradations are consistently filled. As shown in the exercise examples, if
the requirement of two Conical gradations per palette color does not all fit on one panel, additional panels may be
required. Make every effort to maintain an evolution of Chroma that follows your value transitions. Keep in mind
that overworking transitions may potentially muddy the pure color and ultimately diminish the desired evolution of
Chroma. Do not move on to the next section until each phase one Cone build is consistently executed.
Keep each Cone consistent in size, rate of change and surface finish. Confident and consistent execution is a key to
developing strong, valuable skill sets. Maximize your space to get as much practice as possible. Your instructor can
guide you on how to make to most of your canvas or panel’s work area.
330
Now that we have established a strong initial series of gradations that begin to successfully
communicate the body of the Cone, we must revisit the model to take a deeper look at the values
that reveal its form. We will re-administer the effects of the reflected light in our example shown
here to make the common values of Chiaroscuro we explored, far more evident
(figure 4). Watch as the common values we discussed are identified. Based on your previous
experience with Chiaroscuro and the sphere, see if you can locate them before they are revealed.
Thus far, our Cone build contains a general highlight, middle-tone, and attached shadow. Our
Cast Shadow and Cast Shadow accent are not currently applicable, however we can still add the
Reflected Light. The addition of the Reflected Light will allow the Attached Shadow Accent to
become more apparent (figure 5). Refer to your Cone model to reference the intensity of the
reflected light, its rate of change, and other variables that you otherwise may need to estimate.
Proceed to create an achromatic phase one Cone build as described in the previous section. Do
not add these additional values to any previously executed Cone Build stages. Start fresh with
With Cone Build phase 1 established, add the reflected light values into the shadow section as
observed in the previously studied Cone model. The Reflected light should begin to disappear
and narrow as nears the upper quadrant of the Attached Shadow (figure 6). Make the reflected
light bright enough to be visible, but subtle enough to disappear when viewed while squinting.
This basic squint-test separation will ensure the contrast of the overall form is maintained. In
addition, the attached shadow accent should also be somewhat affected by the added reflected
light--giving it a slight vertical gradation. Make an effort to incorporate this very subtle
gradation without removing too much of the attached shadow accent in the process.
our Cone build, we arrive at the goal for the second phase of our Cone Build exercise.
Again, do not add the Reflected light values to your previously executed Cone Build stage
exercises. Start fresh with new ones as the continued repetition and additional experience will
enhance your developing skill-sets. As with the previous Cone Build phase, execute 2 new color
Conical Build phase gradations for each color on your palette.
ASSIGNMENT
Continue to perform this second phase of the Cone Build exercise until at least 1 full 16x20” panel of Achromatic
Conical gradations and 1 full panel of Color Conical gradations are consistently filled. As shown in the exercise
examples, if the requirement of two Conical gradations per palette color does not all fit on one panel, additional panels
may be required. Apply the reflected light while keeping the initial gradations intact. Make every effort to maintain an
evolution of Chroma that follows your value transitions. Keep in mind that overworking transitions may potentially
muddy the pure color and ultimately diminish the desired evolution of Chroma. Do not move on to the next section
until each phase two Cone build is consistently executed. Keep each Cone consistent in size, rate of change and surface
finish. Confident and consistent execution is key here to develop strong, valuable skill sets. Maximize your space to get
as much practice as possible. Your instructor can guide you on how to make to most of your canvas or panel’s work area.
331
THE CONE EXERCISE EXAMPLES
332
THE CONE – PHASE II
CONICAL LIFE STUDY
Goal: Further explore, through analysis and repetition, the manner in which light describes cylindrical forms.
pencil, kneaded eraser, Color Cone model.
Returning to our Cone model we must now incorporate the aspects we had removed to
initially simplify our study: the circular bases, or as seen in this perspective, ellipses. As with
the earlier forms, through observation, investigation, and repetition, we have explored a good
deal regarding the nature of the Cone and how we perceive it. We will now replicate this
general estimations, alignment tools, or compaarative measurement methods to determine
initial measurements.
We now have the opportunity to add in the final remaining values of Chiaroscuro, The Cast
Shadow and Cast Shadow Accent, to the Cone.
Take notice of how the Cone’s cast shadow shape differs from that of the Sphere or Cylinder.
ASSIGNMENT
Proceed to paint one Cone upright with a simple surrounding environment. Use careful observation, and the same
painting procedure we have utilized thus far to capture this basic geometric solid. Before beginning the painting,
carefully study how each shape, value and color work together to communicate the form of the Cone. Keep your painting
as true to the actual size and value structure of your available Cone model. Make every effort to replicate the observable
shapes and values as accurately as you can.
333
THE CONE – PHASE III
THE CONE WHEEL
pencil, kneaded eraser, Color Cone model, Cone Wheel Reference sheet.
As our exploration of the Cone continues, we once again look to the effects of perspective
on the cone’s shape due to its orientation. To explore the many variations of shape and
value influenced by orientation we will again visit a challenge familiar to us from our study
of Cylinders--The Cone Wheel Exercise. Retrieve the Cone Wheel Reference sheet.
The goal here is to arrange 8 Cones in varied orientations radiating from a central point.
Use the lines extending from the center point as your primary Cone axis, A. Major Ellipses
axes, B can then be plotted perpendicular to lines A. After your wheel schematic design
is complete, add the appropriate values and colors so as to communicate a wheel of
dimensional Cones being illuminated by a single primary light source. You may experiment
with moving with the primary light source away from the commonly used ‘home’ position
as long as you make sure the light source position remains constant throughout the
exercise.
One of the great challenges that come with the Cone Wheel exercise is the ability to
implement plausible relationships between illustrated Cones with limited resource models.
You must rely on your ability to observe, analyze, and improvise beyond what you have
done before to yield a strong unified representation of 8 Cones populating the same image
under one primary light source. Cast Shadows and Reflected lights should be calculated
carefully. Proceed to lay out a general wheel design cartoon or schematic in graphite
or charcoal. With your initial layout established, proceed to populate the cartoon with
appropriate values and colors to yield a highly dimensional configuration of Cones around
a central point. Remember to make sure that all of the Cones are illuminated from a single
primary light source and that the Cones interact with each other if applicable.
Arrange and replicate a radial configuration of 8 Cones around a central point as

described on the Cone Wheel Reference Sheet found in your student workbook.
Individual Cone orientation, color, value and overall Wheel size are open to
design as you wish, however variety is encouraged. Remember to pay close
attention to Cast Shadows and Reflected Lights when considering interaction
between the Cones.
334
CONE WHEEL REFERENCE
Arrange 8 Cones in varied orientations around a central

hub. Use the lines extending from the hub as your
primary cone axis (a). Ellipse axis (b) will then run
perpendicular to a. After your design is complete, add
value to illustrate the entire wheel as illuminated from
one light source.
335
THE CONE WHEEL EXAMPLES
336
THE CONE – PHASE IV
CUMULATIVE
pencil, kneaded eraser, Color Cone model.
At this stage we have amassed a good deal of information regarding the nature of the Cone and how
we perceive it. Our skills have further developed and we now prepared to create a Final Cumulative
Painting to close out yet another challenging chapter. As we are now on our third form, our
Cumulative exercise grows to include Spheres, Cylinders, and now--Cones. As with the previous
Cumulative Final, this chapter’s version offers a departure from the idealized model we have been
using in lieu of more varied models.
Proceed to select and arrange an assortment of objects which emulate the Sphere, Cylinder and
Cone into one composition. Make every effort to have your subjects interact with one another and
their environment. Make every effort to challenge yourself by using subjects with texture or surface
variations. Once again, this project should be executed from actual models.
An important aspect to explore before proceeding with your painting is how the communication
of your subject’s form influences, and is influenced by, its surface features. When your subjects
have been selected and your arrangement complete, take a moment to carefully study any textures
or surface variations. Remember that the values and colors that communicate the surface features,
like texture, will be greatly influenced by their location on the object and will in turn–influence
the form. For example, looking at this image of a Cone bearing a pattern on its surface, the design
element located in the Middle-Tone is far lighter than the design element found in the Attached
shadow. In addition the colors of each pattern lower in Chroma as they move away from the light
source. Surface features that deviate from these value and color relationships may cause your
subject to lose dimension and appear flatter (figure 1).
Here are several examples of paintings containing a combination of spherical, cylindrical and
conical subjects. Notice that some of these objects do not confirm to the idealized solid form models that have been explored in the
build chapters thus far. This presents a wonderful challenge for the individual to adapt the previously studied models in an effort to
capture a new conical configuration of value and color. Try to choose subjects that will present new and exciting challenges.
Before you begin, make sure that your
subject is in alignment with your
painting surface. Your process will
once again echo previous exercises-
-from graphite or charcoal cartoon,
to anchors and tapers, to sable brush
surface refinement.
Kate Sammons Discordia Anthony Waichulis Treasures (DETAIL) Leah Waichulis Oak Bengal (DETAIL)
ASSIGNMENT
Arrange and execute a color painting containing an assortment of spherical, cylindrical and conical subjects in an
environment. Make an effort to utilize subjects that have texture or surface variations. Be sure to develop some
interaction between the subjects and their environment when arranging the composition. Keep your painting as true
to the actual size, value, and color structure of your available reference. Make every effort to replicate your subjects as
337
THE CUBE
THE CUBE – PHASE I
Goal: Explore, through analysis and repetition, the manner in which light describes forms.
pencil, kneaded eraser, Cube model.
With a thorough exploration of the Sphere, the Cylinder and the Cone complete--we
return to The Waichulis Form Box to isolate the Cube for similar study. While the DVD
illustration indicates the ‘Cube-like form’ with rounded edges, you may use the more
appropriate, sharp-edged Cube-like form that houses the Sphere.
Shown here is a single Cube placed within a Shadow Box. As described in previous
chapters, the cube is a three dimensional equivalent of a square. It is a basic geometric
solid bounded by six square faces, facets, or sides.
Starting with your light in the home position and your cube oriented as shown, take a
moment to carefully move your primary light around and observe how the values of the
Cube are affected (figure 1). Now move the cube from its position to see how its overall
shape changes as you alter its orientation. Carefully observe how the play of value and
orientation of shape describe this form to us. When you are finished observing, return
your primary light source to the home position and your Cube model to the position
shown. As we study the Cube, we should note its similarity to the Cylinder and Cone in
regards to the relationship of shape and orientation.
While the subtle gradations found on each face of the cube may seem very familiar to
us, a challenging new aspect to explore within this form is the abrupt plane changes
that populate the cube. These sharp facet or plane separations will result in extremely
fast rates of change, and will stand in sharp contrast to the extremely subtle value shifts
that populate the planes themselves. However, the sharper ‘plane shift’ gradations may
seem somewhat familiar as fast rate-of-change gradations were included in the earlier
Gradation Pattern exercises.
In order to build a schematic for this particular form that will offer a challenge of
successfully balancing slow and fast transitions, we will make a few changes to the basic
format we have been using thus far.
We will construct our basic cube schematic out of 3 sets of parallel, or perhaps slightly
converging, parallel lines. One set which contains a center line and 2 parallels that run
perpendicular to our resting surface, and two sets which will travel east and west from the
center. These sets of lines will establish 3 visible planes of the cube (figure 2). To begin this
schematic construct, establish an upside down “T” frame just as we did with the Cone.
This frame will measure 3” wide at the base and 2 3/4” high from the center of the base.
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Add two lines parallel and equidistant from the center T frame at the ends of the 3” base.
These lines however, will only be 2 1/2” inches high. This configuration will result in a
somewhat stylized “W” (figure 3).
Next we will add markers for the other lines at three specific points. One on each outer
parameter line at 1/2” from the base and one that is 3/4” from the top, or 2” from the
bottom.
We will then add 2 lines extending east and west from the base center to the bottom 1/2”
outer line markers and two lines extending east and west from the center top marker to
the top of the outer boundary lines. The final two lines will extend from the tops of the
outer boundary lines to the top of the central line.
All of the lines extending east and west from the center may ever-so-slightly converge
as to enhance the illusion of perspective, but for the purposes of this exercise, they may
remain as 3 sets of parallel lines. The result is a Cube schematic for use with the form
repetition exercises.
With our light source in the home position, we can see that light grades in different
directions, with different ranges, and at different rates as determined by the form itself.
Due to the nature of this faceted form, we will alter the standard 3:1 light to shadow ratio
in lieu of a more form-appropriate 2:1 light to shadow ratio (figure 4).
In observing this particular form, within this orientation and lighting scenario, we can see
that the main light and dark separation will occur between the two light planes and the
one shadow plane while the brightest values culminate near the central
meeting of all three planes (figure 5) .
Just as with the previous form studies, we will simplify our exploration of this form
and focus on the main light to dark gradation. However, since this overall separation
is so abrupt, we will also include the subtle multi-directional value gradations found
on both light planes. The challenge here is to execute the subtle plane gradations while
maintaining the clearly defined, chevron-like shape of the cube’s illuminated section
(figure 6).
Just as experienced in the Language of Drawing we will break the cube repetition
exercises into two main phases. However as with previous Language of Painting form
exercises, each phase will be comprised of one achromatic stage and one color.
Phase one will tackle the major sharp light and dark separation and the subtle secondary
gradations that populate the illuminated area--both with and without color. While Phase
two will address the influence of reflected light–again–both with and without color.
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Directions:
With graphite or paint, begin by establishing an upside-down “T” frame that is 2 and 3/4”
high by 3” wide. Add two 2 1/2” parallel lines equidistant from the center line at each end of
the 3” base. This configuration will result in the somewhat stylized “W”.
Three markers are then added for the additional lines. One on each outer parameter line, 1/2”
from the base and one that is 3/4” from the top or 2” from the bottom.
We will then add 2 lines extending east and west from the base center to the bottom 1/2”
outer line markers and two lines extending east and west from the center top marker to the
top of the outer boundary lines. The final two lines will extend from the tops of the outer
boundary lines to the top of the central line.
Once again, all of the lines extending east and west from the center may ever-so-slightly
converge as to enhance the illusion of perspective, but for the purposes of this exercise, they
may remain as 3 sets of parallel lines.
With this layout, or schematic, of our simplified cubical form, we will add value as we have in
our other Gradation-based or previous form build exercises. As to our value range and rate of
change--we will set the exercise parameters for a full value range-bright white to rich black-
and a sharp transition where the light chevron-like shape interlocks with the dark shadow
parallelogram.
In this first phase of the cube we will also be administering the subtle gradations that populate
the light section of the Cube model in this lighting scenario. Here, we see a very subtle dark
to light transition occurring on the illuminated front plane moving in a somewhat Northeast
direction while the top plane contains a similar diagonal gradation, occurring from the top or
back end of the plane and moving South towards the front. Both planes seem brightest at the
central intersection on all three visible planes.
In this first phase of the cube we will also be administering the subtle gradations that populate
the light section of the Cube model in this lighting scenario. Here, we see a very subtle dark
to light transition occurring on the illuminated front plane moving in a somewhat Northeast
direction while the top plane contains a similar diagonal gradation, occurring from the top or
back end of the plane and moving South towards the front. Both planes seem brightest at the
central intersection on all three visible planes.
340
As mentioned earlier, we will also include a color stage in this Cube build phase. With the
exception of color use and the implementation of an optional highlight, our painting procedure
for this Cube build remains the same.
The goal here is to execute a cubical form gradation from pure color to black within the cubical
schematic introduced. The area of the cubical gradation where we initiated our pure white will
now consist of pure color. This area of pure color, or high Chroma, will become less brilliant--
or lower in Chroma--as it follows the darkening values of the Cube. The shadow section should
remain black. You may feel free to utilize additional colors to assist in the development of the
subtle secondary transitions.
Additionally, for this exercise it is acceptable to add a subtle hint of white to any dark color
with which a gradation is almost nonvisible. Remember that white will lower Chroma so be
extremely conservative with its use.
For this section we will create two Cubical gradations for each color on our palette. Just as
each pure color on your palette has a different value--the value range of each gradation will
vary. However, the main light dark separation should still be as abrupt as the transition seen in
gradation block 1. It is also important to remember here that black and white are also colors on
your palette. Obviously a black to black transition will yield no gradation unless a hint of white
is added to the light region. Again, be conservative with its use.
You may choose to include an optional specular highlight if you like. If you choose to
include it—it is highly recommended to set up a cube model with the appropriate lighting
scenario from which to observe accurate highlight placement. However, as with the earlier
form repetitions, if the addition of a bright specular highlight interferes with the successful
development of your initial value/Chroma form gradation, omit it and revisit it after some
practice.
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Continue to perform this first phase of the Cube Build exercise until at least 1 full 16x20” panel of Achromatic Cubical
gradations and 1 full panel of Color Cubical gradations are consistently filled. As shown in the exercise examples, if the
requirement of two Cubical gradations per palette color does not all fit on one panel, additional panels may be required.
Make every effort to maintain an evolution of Chroma that follows your value transitions. Keep in mind that
overworking transitions may potentially muddy the pure color and ultimately diminish the desired evolution of Chroma.
Do not move on to the next section until each phase one Cube build is consistently executed. Keep each Cube consistent
in size, rate of change and surface finish. Confident and consistent execution is key here to develop strong, valuable skill
sets. Maximize your space to get as much practice as possible. Your instructor can guide you on how to make the most of
your canvas or panel’s work area.
342
Now that we have established a strong initial series of gradations that begin to successfully
communicate the basic cube, we must revisit the model to take a deeper look at the values
that reveal its form. We will re-administer the effects of the reflected light in our example
shown here to make the common values of Chiaroscuro we explored, far more evident.
Based on your previous experience with Chiaroscuro and the sphere, see if you can locate
them before they are revealed. Thus far, our Cube build contains a general highlight,
middle-tone, and attached shadow. Our Cast Shadow and Cast Shadow accent are not
currently applicable, however we can still add the Reflected Light (figure 7). The addition
of the Reflected Light will allow an Attached Shadow Accent to become more apparent.
Refer to your Cube model to reference the intensity of the reflected light, its rate of change,
Directions:
Proceed to create an achromatic phase one Cube build as described in the previous section. Do
not add these additional values to any previously executed Cube Build stages. Start fresh with
With Cube Build phase 1 established, add the reflected light values into the shadow section as
observed in the previously studied Cube model. The Reflected light should begin to dissipate
as it nears the upper section of the shadow plane. Be sure that the reflected light does not
dissipate too abruptly as it may misrepresent the flat plane itself. As with the earlier forms,
make the reflected light bright enough to be visible, but subtle enough to disappear when
viewed while squinting. This basic squint-test separation will ensure the contrast of the overall
form is maintained.
our cube build, we arrive at the goal for the second phase of our Cube Build exercise. Again, do
not add the Reflected light values to your previously executed Cube Build stage exercises. Start
fresh with new ones as the continued repetition and additional experience will enhance your
developing skill-sets. As with the previous Cube Build phase, execute 2 new color Cubical Build
phase gradations for each color on your palette.
343
Continue to perform this second phase of the Cube Build exercise until at least 1 full 16x20” panel of Achromatic Cubical
gradations and 1 full panel of Color Cubical gradations are consistently filled. As shown in the exercise examples, if the
requirement of two Cubical gradations per palette color does not all fit on one panel, additional panels may be required.
Apply the reflected light while keeping all initial gradations intact. Make every effort to maintain an evolution of Chroma
that follows your value transitions. Keep in mind that overworking transitions may potentially muddy the pure color and
ultimately diminish the desired evolution of Chroma. Do not move on to the next section until each phase two Cube build
is consistently executed. Keep each Cube consistent in size, rate of change and surface finish. Confident and consistent
execution is key here to develop strong, valuable skill sets.Maximize your space to get as much practice as possible. Your
instructor can guide you on how to make the most of your canvas or panel’s work area.
344
THE CUBE EXERCISES EXAMPLES
345
THE CUBE – PHASE II
CUBICAL LIFE STUDY
pencil, kneaded eraser, Color Cube model.
As with the earlier forms, through observation, investigation, and repetition, we have
explored a good deal regarding the nature of the Cube and how we perceive it. We will
now replicate this geometric solid, with all of our common values of Chiaroscuro, in its
environment. Align your subject with your drawing surface and easel. Once you are aligned,
you can use general estimations, alignment tools, or comparative measurement methods to
determine initial measurements.
We now have the opportunity to add in the final remaining values of Chiaroscuro, The Cast
Shadow and Cast Shadow Accent, to the Cube.
Take notice of how the cube’s cast shadow shape differs from that of the cast shadows of
previously studied forms.
Proceed to paint one Cube upright with a simple surrounding environment. Use careful
observation, and the same painting procedure we have utilized thus far to capture this basic
geometric solid.
Paint one Cube with surrounding environment as illustrated. Be sure to align your subject with your painting surface prior
to start. Carefully study your Cube model at the onset. Make every effort to replicate the observable shapes, values and
colors of your subject as accurately as possible.
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THE CUBE – PHASE III
THE CUBE WHEEL
pencil, kneaded eraser, Color Cube model, Cube Wheel Reference sheet.
As our exploration of the Cube continues, we once again look to the effects of
perspective on the cube’s shape due to its orientation. To explore the many variations of
shape and value influenced by orientation we will again visit a challenge familiar to us
from our study of previous forms--The Cube Wheel Exercise. Retrieve the Cube Wheel
Reference sheet.
At first glance you may notice that this particular wheel assignment is far different from
the Cone and Cylinder wheels. While previous wheels were open to creative design
within a given set of parameters, the Cube wheel must be created from a predetermined
schematic. While this wheel can be creatively illuminated, the exact proportions from
the model sheet must hold true.
The goal here is to replicate this Cube-themed schematic so that the center square
measures 2x2”. Throughout the enlargement process you are to maintain all
proportions throughout. Pay very close attention to all measurements. All of the red
lines in the schematic are for construction/alignment purposes and should NOT appear
in the final product.
When the wheel schematic is complete, add the values of Chiaroscuro to illustrate
the entire wheel as being illuminated from a single primary light source. You may
used ‘home’ position as long as you make sure the light source position remains
constant throughout the exercise.
Once again, take great care to record accurate measurements and maintain exact
proportions throughout this exercise. Remember that you must rely on your ability
to observe, analyze, and improvise to yield a strong unified representation of 8 Cubes
populating the same image under one primary light source. Cast Shadows and
Reflected lights should be calculated carefully.
Proceed to replicate the Cube wheel schematic as described on the Cube Wheel
reference sheet in either graphite or charcoal. With your initial layout established,
proceed to populate the cartoon with appropriate values and colors to yield a highly
dimensional configuration of Cubes illuminated by a single light source. Remember to
make sure to illustrate any interaction between the cubes if applicable.
Create a Cube Wheel within the parameters described on the Cube Wheel Reference Sheet found in your student
workbook. The entire Cube wheel should be based on a 2x2” center square with all proportions maintained accordingly.
Individual Cube colors, values and textures are left up to the individual, however variety is encouraged. Feel free to use
any available Cube models as a source of reference when possible. Remember to pay close attention to Cast Shadows and
Reflected Lights when considering interaction between the Cubes.
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CUBE WHEEL REFERENCE
Reproduce the Cube-themed schematic below in proportion so that the central square measures
2x2”. Pay close attention to all measurements thought out as they are not all perfect cubes.
Red Lines are for construction/alignment purposes and should not appear in the final product.
Proceed to add value so that all forms are illuminated from one light source. Promote interaction
between the forms with Cast Shadows and Reflected lights.
348
THE CUBE WHEEL EXAMPLES
349
THE CUBE – PHASE IV
CUMULATIVE
pencil, kneaded eraser, Color Cune model.
At this stage we have amassed a good deal of information regarding the nature of the Cube and how
we perceive it. Our skills have further developed and we are now prepared to create a Final Cumulative
Painting to close out yet another challenging chapter. As we are now on our fourth and final form,
our Cumulative exercise grows to include Spheres, Cylinders, Cones and now Cubes. Proceed to select
and arrange an assortment of objects which emulate the Sphere, Cylinder, Cone and Cube into one
composition. Make every effort to have your subjects interact with one another and their environment.
Make every effort to challenge yourself by using subjects with texture or surface variations. This project
should be executed from actual models.
An important aspect to explore before proceeding with your painting is how the communication of
your subject’s form influences, and is influenced by, its surface features. When your subjects have been
selected and your arrangement complete, take a moment to carefully study any textures or surface
variations. Remember that the values and colors that communicate the surface features, like texture, will
be greatly influenced by their location on the object and will in turn-- influence the form. For example,
looking at this image of a Cube bearing a textured surface, the design element located in the Middle-
Tone is far lighter than the design element found in the Attached shadow. In addition, the colors of each
pattern lower in Chroma as they move away from the light source or when they are affected by specular
reflection. Surface features that deviate from these value and color relationships may cause your subject
to lose dimension and appear flatter (figure 1).
Here are several examples of paintings containing a combination of spherical, cylindrical, conical and
cubical subjects. Notice that some of these objects do not confirm to the idealized solid form models
that have been explored in the build chapters thus far. This presents a wonderful challenge for the
individual to adapt the previously studied models in an effort to capture a new cubical configuration of
value and color. Try to choose subjects that will present new and exciting challenges.
Here are several examples of paintings containing a combination of spherical, cylindrical, conical and cubical subjects. Notice that
some of these objects do not confirm to the idealized solid form models that have been explored in the build chapters thus far.
This presents a wonderful challenge for the individual to adapt the previously studied models in an effort to capture a new cubical
configuration of value and color. Try to choose subjects that will present new and exciting challenges.
Brandon D. Drake Studies (DETAIL) Anthony Waichulis The Chase Kate Sammons Portrait of Anthony Waichulis
350
THE CUBE – PHASE IV – CUMULATIVE
Before you begin, make sure that your subject is in alignment with your painting surface. Your process will once again echo
previous exercises--from graphite or charcoal cartoon, to anchors and tapers, to sable brush surface refinement.
Arrange and execute a color painting containing an assortment of spherical, cylindrical, conical and cubical subjects in an
environment. Make an effort to utilize subjects that have texture or surface variations. Be sure to develop some interaction
between the subjects and their environment when arranging the composition. Keep your painting as true to the actual size,
value, and color structure of your available reference. Make every effort to replicate your subjects as accurately as you can.
351
CAPSTONE ORIGINAL WORKS
For many years, the final drawing challenge within the Waichulis
training system has been a final creative drawing assignment that
had surpassed all of their previous creative works in size, scope, and
difficulty. This final drawing also allowed for more creative license
than any other challenge thus far. The final challenge became known
as The Gauntlet. However, the Language of Painting expands the
basic idea of the Drawing Gauntlet into three creative explorations
of skill and creativity known as The Creative Capstone Works.
The parameters of the Capstone Works echo those from the
Language of Drawing’s lauded Gauntlet challenge. As with the other
Creative Works up to this point, artists may explore any subject, size,
style or genre when embarking on the Capstone Works. However,
while the aforementioned parameters are left completely up to the
individual, artists are encouraged to test their skills with challenging
subject matter. Brandon D. Drake Gazing in the Glass
11x14 Oil on Masonite
Artists should employ the same materials that have been presented in the program thus far, however experimentation is
encouraged. Any 2D or 3D reference sources available to the artist
may be used to complete these works. Replication of reference is not
a requirement for the Capstone Works, rather, the artist may use as
much creative license as he or she sees fit. Instructors may advise in
the planning of this project or may serve in an advisory capacity if
desired, but will ultimately leave all of the creative decisions in the
hands of the artist.
The tools required for your final Capstone Works will be determined
by subject, size, style, and process.You can execute these works
on any size surface you choose. Brush sizes and styles can be
determined by size and process. Just as illustrated in the Form Box
exercise, do not be afraid to deviate from our general ‘brush-use
wheel’ to increase material control at any point throughout your
painting process.
Unless otherwise stated for specific training purposes, remember

that as long as you understand the dynamics of your application tools, you are free to use what you wish in an effort to complete the
challenge at hand. A palette knife may be used for any necessary mixing as with the Basic Palette Color Chart. As with the previous
exercises, the Drafting tools seen in our material box may be necessary to establish any preliminary line drawing. And as always,
Paper towels should be on hand.
Complete the Painting portion of the Ani Art Academies training program by executing three original Capstone Works
that demonstrate the skills and individual aesthetic developed thus far. You may explore any subject or genre, employ any
technique, reference material, or creative license that may suit your purpose.
352
VARNISH
At several key points during the Language of Painting we have mentioned the concept
of using a varnish to protect and possibly revitalize the colors or values of a finished
painting. If you have the opportunity to look back at your unvarnished exercises like
the Basic Palette Color Chart and Gradation Patterns, you may see that some wear to
the unprotected surface or some additional sinking of the color or value structure has
occurred. The application of a final varnish should be considered to address these issues.
To understand the ‘how and why’ of varnish, let’s look first at what a varnish actually is:
A varnish is a liquid which, when applied to a solid surface, dries to a transparent film
of varying degrees of gloss, toughness, flexibility, and protection, depending upon its
composition. It is applied to fully ‘cured’ finished works to provide protection from dust
and other atmospheric contaminants, provide a uniform finish, and may assist in the
elimination of sinking effects.
What makes a good varnish for Oil Paintings? While this question has led to some debate,
we can find a starting point for ‘varnish criteria’ as explored at the International Conference
for the Study of Scientific Methods for the Examination and Preservation of Works of Art held in Rome in October of 1930. The
committee for the restoration of paintings established this ideal criteria:
1. The Varnish should protect the painting for atmospheric impurities.It is interesting to note that many experts would tend
to agree that dust can cause the most damage to a painting. Atmospheric contaminants like dust can be extremely abrasive and
difficult to remove if it becomes embedded in the paint film.
2. Its cohesion and elasticity should be such as to allow for all ordinary changes in atmospheric conditions and temperature.
3. The elasticity of the paint film and tissues under the varnish should be preserved.
4. It should be transparent and colorless.
5. It should be capable of being applied thinly.
6. It should not bloom.
7. It should be easily removable.
8. It should not be glossy.
However in November 1934, it was published in the Journal of Chemical Education that the
committee did not know of ANY varnish that met all of these requirements. Today we do
find more options available to us than were possible in the 1930s. The variety of varnishing
materials is as diverse as the choices of paint media and techniques throughout the history
of painting.
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VARNISH
Let’s take a look at a few of the characteristic of varnishes so that we may better navigate our options:
• First let’s separate Final varnish from retouch varnish. Retouch varnish is a temporary varnish you can apply to an oil painting to
restore sunken colors and values without arresting the curing process. Retouch varnish allows an oil painting to continue to dry.
When the painting is completely dry or ‘cured’, you can apply a final varnish over the retouch varnish.
Final varnishes offer far more protection than a typical retouch varnish, however, this often means an arresting of the curing
process. You should only consider the application of a final varnish when you are sure that the painting is completely cured.
• Second let’s look at two main branches of varnish-natural and synthetic. Some well-known natural varnishes are Dammar, Copal,
and Mastic varnishes. Of these, Dammar is probably the one still in most common use today. Other natural resins, such as copal or
mastic suffer from cracking, extensive yellowing, and become increasingly difficult to remove from a painting over time. Although
dammar does turn yellow to brown within about fifty years of normal exposure conditions, it remains removable.
Synthetic varnishes are, in most cases, composed of ketone or acrylic resins dissolved in mineral spirits. They do dry quite rapidly
and are also non-yellowing. Some industry experts state that synthetic resin varnishes work better on non-textured surfaces as
variations in the surface may mix a scattering of surface light with the paint color reducing apparent color saturation. This may lead
some to conclude that natural resin varnishes form a smoother film with better color saturation.
Next we can look to the characteristics of finish and the impact of a delivery system. Varnishes come in a variety of finishes ranging
from ‘glossy’ to ‘matt’ to ‘satin’. Some varnishes can even provide a relative gloss finish that can be controlled to some degree to
better suit artists’ personal preferences. As to application, varnishes can be applied with a brush or with a sprayer. Both delivery
systems provide certain advantages as well as potential pitfalls. A potential varnish user should be extremely well versed in their
chosen varnish manufacturer’s recommended application process.
Again—be sure to read all available information regarding varnish composition and application as provided by your chosen
varnish’s manufacturer. If adequate documentation is NOT provided with the varnish itself, you may wish to consult the
manufacturer’s website. We cannot overemphasize the importance of familiarizing yourself with inherent properties of the chosen
varnish as well as the manufacturer’s recommended application process prior to use. We highly encourage you to experiment as
much as possible on any cured test pieces before use on a finished work.
Artist’s Supply Companies Resource

Simon Liu Art Supply www.simonliuinc.com
Sam Flax Art Supply www.samflaxsouth.com
www.samflaxny.com
354
VARNISHING A PAINTING
Directions:
Step 1
The painting is examined carefully to ensure the paint is cured. If the painting is not cured
you may start to lift off or erode away some of the paint film. If this happens, do not panic.
Just reference the manufacturer’s recommendations for varnish removal and repair the work
accordingly. Mistakes happen and panicking seldom results in good, clear-headed decisions.
Step 2
The painting is then carefully inspected for any surface contaminants like dust or grease.
Step 3
In a warm, dry, dust-free environment, Anthony applies a relatively thin layer of varnish to
his cured painting. With a Flat Nylon application brush used only for varnishing, the varnish
is spread across the work surface. An important recommendation here is that you should
designate a brush for use with your varnish and your varnish alone. Using a brush that has been
used to apply paint may inadvertently hold color in its hair bundle that can potentially release
during varnishing. Again, if this happens, do not panic. Just carefully remove any unwanted
color influence with a clean brush and proceed with your varnish process. Anthony uses a series
of cross-hatched passes to allow for this varnish to be spread out evenly.
Step 4
When the varnish is applied and the surface is even, the piece is stored either flat or upright in
a dust free cabinet until dry. Varnish drying time will depend upon your chosen varnish and
application process.
Again, we cannot stress enough that no varnish should be applied to any painting until the piece
is completely hardened or cured. Varnishing a painting before it has cured can cause much
damage to the finished work. Oil colors, unlike water based colors which dry by evaporation,
dry as the result of an oxidative reaction.
In addition, be sure to read all of your chosen varnish manufacturer’s instructions very carefully
before use. Use only brush application tools and application procedures recommended by your
chosen varnish’s manufacturer.
355
ADDITIONAL EDUCATIONAL VIDEO RESOURCES
The Art of Painting by Scott Waddell

Available for download: www.scottwaddellfinearts.com/TAOPvideopage.htm
Figure Demonstration by Scott Waddell

Available for download: www.scottwaddellfinearts.com/FigureDemonstration.htm
Portrait Painting Demo by Scott Waddell

Available for download: www.scottwaddellfinearts.com/Portraitdemonstration.htm
Painting a Still Life by Douglas Flynt

Available for download: www.douglasflynt.com/video_information_page.html
Indirect Oil Painting by Sadie Sadie Jernigan Valeri

Available here: www.sadievaleri.com/videos/indirect-oil-painting-video-feature-length-dvdblu-ray.html
Steps for Successful Plein Air Painting by Dan Schultz

Available here: www.danschultzfineart.com/dvd/dvd.html
David Gray
Available for viewing: http://dgoilpaintingtechniques.com/
Donato Giancola
Available here: http://www.donatoart.com/technique/tech.html
Erik Koeppel
Available for download: http://streamlineartvideo.com/titles/koeppel/
Duffy Sheridan
Available for viewing: http://www.youtube.com/duffysheridan
Tony Curnaj
Available here: http://www.craftsy.com/class/the-oil-painters-handbook
Thomas Kegler
Available here: http://www.thomaskegler.com/video/
Morgan Weistling
Available here: http://www.morganweistling.com/store/dvd.html
More video resources will be added on the FaceBook Language of Painting forum page.
356
Anthony Waichulis (b.1972) Founder of the highly successful Waichulis Studio and Ani Art
Academy Waichulis, Anthony has established an international reputation for his Trompe
L’oeil paintings. Waichulis’ works are highly prized by knowledgeable collectors worldwide
and have been lauded by critics on many occasions.
Represented by one of the most prestigious galleries in the US, the John Pence gallery in
San Francisco, Waichulis has exhibited in many of the most respected venues throughout
the country including the Arnot Art Museum, The Washington Museum of Fine Arts, The
Smithsonian Institute, The Midwest Museum of American Art and the Orlando Museum of
Art.
Waichulis’ works continue to appear regularly in top national publications such as The
Artist’s Magazine, American Art Collector, and Fine Art Connoisseur. His efforts have
earned top honors in both national and international competitions as he continues to
command an ever widening audience. In 2006, Anthony became the first Trompe L’oeil
painter to be granted Living Master status by the Art Renewal Center.
“My painting efforts still remain as steadfast and focused today as they have when my journey
began. I continue to teach and lecture privately, at academic institutions, and at various art
associations throughout the US. My desire to learn and grow as an important Representational
painter remains unfettered. I aspire to honor those I follow and strive to give benefit to those
who may one day follow me.” -

Visual Language Core

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Visual Language Core

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VISUAL LANGUAGE CORE

Select content from several contemporary curricula including

The Four Essential Components of Deliberate Practice

4. You should repeatedly perform the same or similar tasks.

We wish you all every continued success.

WHITE PASTEL PENCIL SHARPENING TOOLS

MAHL STICK TAPE AND VARIED CLIPS

BRUSHES AND STUMPS

DIVIDERS AND RULERS

Groups of Lines to communicate

place a series of dots on

place a series of dots on

You can also try using

practice whichever line direction was the

Repeat the exercise for three rows on one

Continue to repeat the rows on additional

Another fun line exercise is Blind

Make every effort to keep the line path as random as possible!

Jackson Pollock (1912 – 1956) was an influential American

Number 14 (Gray), 1948 by Jackson Pollock

These examples still have some roaming or wandering line but

hatching and cross-hatching

Lines farther apart – lighter value Lines closer – darker value

Lines farther apart – lighter value Lines closer – darker value

How do the values perceived relate to each other?

more abrupt gradation

Gradations introduction taken from the Waichulis Curriculum Language of Drawing

Everything we see around us is defined by light. As light interacts with an object

In the portrait drawing entitled “Gnomon” by Dan Christian, we see a

In Omar Rodriguez’s “A Given Sacrifice” we again see many varying

more abrupt gradation

Can you notice how the different rates of

3. Do not reverse direction or go back and fix any mistakes:

Use a ruler to draw a 1x5” rectangle in the top left

Once this initial rectangle is established, divide it into

Next, create a Pressure Line to the left and right of your

The finished result is a successful gradation of light to

Continue to copy the full series of Gradation Pattern models

You may be surprised to

Which side of the bar in the center is darker?

: to change (something) so that it is no longer true or accurate

Subject Distortions of Subject

We can then draw a guide shape

You can add light guidelines

To get accurate measurements for comparison, you need to make

1. The overall width of the vase is the same as:

3. It is the same distance as the top (ends) of the vase’s central

4. Approximately half of the width of the overall vase is close to

5. Approximately half of the width of the overall vase is close to

Take you time and investigate throughly!

This envelope is not well done because it crops

This envelope is well done because it tightly

This is a poor envelope because it leaves too much

Make an effort not to leave an abrupt edge

Artists may also use a grid with the

After an arrangement is designed and staged, a special device known as a grid-stand,

CIRCLE RECTANGLE TRIANGLE

HEXAGON TRAPEZOID DECAGON

SPHERE CYLINDER CONE

CUBE PYRAMID POLYHEDRON

Dow, Composition pl. X, “Notan”

For example, here are a number of flat two-dimensional

As always, vary your stroke direction to ensure an even transition.